Recently, superhero stories have become a favorite theme for viewers. We have not grown tired of reliving the story of the marginalized hero, the one that ignores his potential and lives an ordinary life, but at the same time, predictably, is called upon for a mission which decides the fate of the world. And why not? This is the basis of any epic story. Who doesn’t want to be a unique and special being who above all is admired by others? Alejandro González Iñárritu plays with this idea in a brilliant way and takes it to another level, making it a story that, among other things, centers around the endless internal battle between the “the Id” who is able to take you to the clouds of narcissism and “the Id” adversary who often plays the role of your worst enemy, often holding you back on the ground.
Riggan is an actor who, decades ago, achieved great fame by starring as the superhero of a saga which eventually became part of pop culture. His superhero role surfaces repeatedly and merges with Riggan, becoming his alter ego. In an attempt to prove to himself and to others that he has exceptional acting ability which transcends (he says) that superhero role, Riggan decides to launch a Broadway show (the Mount Olympus of acting) adapted from a short story, hoping to achieve recognition for his work. This situation not only creates the perfect scenario for becoming immersed in different discourses about manipulation and vulnerability, but it also makes for a great story about the human battles of losing control of yourself.
Michael Keaton gives one of the best performances of his career, effortlessly making us laugh, arousing pathos and leading us to catharsis. In a matter of seconds, we identify with the pangs and fears of his character. Keaton plays the role of someone who appears to be the only one aware of his super power of telekinesis. From his family’s point of view, he is unable to achieve the same success of his career in his personal life, especially in the case of his daughter, whose dialogues with her father act like a mirror, reflecting back at him the insignificance and irrelevance that is his life, his existence for his fans and the entire world.
As well, we should mention that “Birdman” is also about the difficulties encountered by an actor who pursues a different path, the desire to move his career in a more intellectual and serious direction, because in reality few people appreciate this kind of transformation. The masses do not desire change, they like the routine and what they already know and are used to. For example, during a press conference scene in the film, one journalist interrupts Riggan’s philosophical discussion with another journalist by asking him about a tweet which claimed he had been injecting himself with serum of strange ingredients as a form of facial rejuvenation.
“Birdman” is also an interesting reflection about the pretentiousness of the critic, whose reference knowledge of theatre is used to put down points of originality in any work. With words, the critic is easily able to distort the sincere work of the artists, who in a way are presented as sacrificial offerings for the judgment of others. The creative process of the critic does not have the same level of exposure as that of the artist, because there is nothing personal to put under public scrutiny. Additionally, it is also about the pretentiousness of actors who overestimate their qualifications and decide to act, direct, write, adapt and sometimes produce their own projects. They have the courage to get up on stage without the years of required education and training for this different platform, with the sole intention of proving their “talent” in an era where social networks function as the new Big Brother that never sleeps and that notices and judges all.
The theater stage plays an important role in the film; it is the best place to recognize true talent as there are no opportunities for retakes, cuts, photoshop or any sophisticated special effects. In the theater, “the show must go on”, regardless of unforeseen circumstances. The whole story of “Birdman” unfolds on stage, in its surroundings, and in the bowels of the theater, creating a magical atmosphere where everything circles back to the beginning. This effect would not have been possible without the amazing cinematic work of Emmanuel Lubezki, who created long, timed and studied shots which created a feeling of both realism and spontaneity. It is also the story about the love of theater and acting.
In “Babel”, Iñárritu presented three stories happening concurrently in different places, where characters from different social classes suffering from the ravages of their own existence were connected with a First World Caucasian couple. In that film, the American couple are almost like demi-gods, privileged with help, fortune, and every advantage compared to the characters in the other stories, who were not blessed with the same privileges. In “Birdman”, the theme of privilege appears again, this time in the form of celebrities who do not feel that they belong on the same level as other humans, as demonstrated by their inflated egos. Is it really a question of superheroes or do we all suffer from the same affliction?
The story is also an exercise in metafiction for its casual yet wonderful resemblance to reality, as the viewer will inevitably reflect upon Michael Keaton’s portrayal of Tim Burton’s Batman. The film could also provide insight into the difficulties of aging and being conscious of one’s mortality, as well as the meaninglessness of existence. Riggan soars above the world, losing himself in his own ego; his ability to fly giving him immense gratification and recognition in the eyes of others.