"Birdman," Where Fame Stifles Hopes and Dreams

Teetering between sanity and insanity, I am trying to decide whether Birdman was the most genius thing I have ever seen this year, or the most ridiculous. Was this film some uncanny way to capture life as it is today, or was it Michael Keaton’s schizophrenic break on screen? Equipped with rambunctious drum solos and daring cinematography, Birdman allows us to explore the life of fame in a different light and through mediums that we have come to love and treasure so much.

Opening up to jellyfish and the swish of the sea tide, we are instantly snapped to the cramp, out of date stylings of St. James Theatre in the theatre district of New York City. From here, director Alejandro Gonzalez Iñarritu takes us on a wild journey of human emotion and how dire the need for attention is to the human being. Iñarritu’s talent with a camera shines its absolute brightest with long tracking shots through twisty turny hallways of St. James. The shots are designed perfectly, placing us in every character’s head, getting a first hand look at what they see. If Iñarritu is trying to get us to walk a mile in someone’s shoes, he has successfully done it here. Delighting us with extreme close ups, we are given a front row seat to all the ugly that human emotion can show us; and it is illuminating, painful, and real.

Though the cinematography is brilliant and artistic, the screenwriting is subpar. The story is lost through a slew of curse words that made me feel like I was talking to a twenty year old at a bar. We get it, these characters are pissed. They want to be noticed. They want to make a name for themselves. The vile language doesn’t make me feel your pain any less or more, and honestly took away from the colorfulness of the characters. It made me forget that these characters were grown adults, with jobs. And maybe that was the point.

What made this film earth-shatteringly profound for me was its in your face message to society today. It plays with the idea of fame and notoriety like putty in its hands. It plays with the idea of how we all long for it. Aim for it. Do wild things for it. And in the end, how it eats away at us. Chews us up and spits us out. We all want to be famous. That’s why we all write, tweet, blog, Instagram, and share every little detail of our lives with the world. 

Enter Sam. Played by the wonderfully talented Emma Stone, Sam represents everything Riggan Thomas (Keaton) can’t be: calm, cool, and collected (somewhat). Sam is our generation; the young twenty to thirty year olds snapping selfies and swapping mindless thoughts through social media. Her understanding of our life is harrowing and eye-opening. Thomas, on the other hand, has lost touch with reality. He struggles to understand the way art, film and theatre work today. He longs for the same fame he once had as “Birdman”, but has no clue how to achieve such prominence again. Going back to what inspired him to be an actor in the first place, he hopes to find what he is missing, only to be slapped in the face when he finally gains his stardom through the minutiae of social medium and crazy stunts. Birdman’s look into celebrity and the idea of becoming a star is intriguing and enlightening.

I could not help but get a laugh or two from the consistent and rowdy jazz drum that was used throughout the film as score. Somewhat distracting, I thought it was an interesting example of the human psyche. Jazz music can often be bumpy, sporadic and all over the place. Thomas’ mind and thoughts throughout the film are scattered and fantastical, sometimes catching him flying around New York City or throwing objects with the flick of a finger. The jazz music can be annoying at times, taking away again from the story and the script, but it does give us another opportunity to walk in the characters shoe’s.

Keaton, Stone, and Edward Norton, who plays Mike Shiner, all deliver wonderfully reckless performances. Keaton, trying to make the comeback of the decade, loses me at some points. He in no one stunned me like Eddie Redmayne’s performance in The Theory of Everything and makes me question The Academy’s desire to nominate him for Best Actor. His performance is almost too exotic, and at times unbelievable. Stone and Norton steal the show, giving us characters that make us question life and the meaning of it. They are full of anguish, and are spiteful and mean to the point where their dialogue is so delicious you want to sink your teeth into it. I basked in the few moments we shared with them and drank it up like sunlight on a cold winter day.

Birdman was in no way revolutionary. Lost through the cacophonous drums and poor language, Iñarritu’s cinematography managed to shine through, giving us some respite. And though the premise and idea was there, my mind was too busy playing catch up with all the oddities that at some point, I just gave up and hoped for the film to be done so I could head home to my bed. I do appreciate the interesting take on fame though. I think I will go tweet about it now.

Captivating Performances, “The Imitation Game”, Leaves Minds Thirsty for More

We are upon another British invasion. Actors from across the pond are flying to the United States to dazzle us with their breathtaking performances on screen this year, and all one can do is watch in amazement. The Imitation Game is yet another jewel that has been presented to us filled with British talent. The film gives us a glance into Alan Turing’s world, the British mathematician who’s impeccable code breaking skills led to an early end to WWII.

There were strong performances across the board. Benedict Cumberbatch filled the shoes of the socially awkward and arrogant Alan Turing, who despite his rough personality, is as charming, as he is smart. Cumberbatch delivers a solid performance, capturing a man so many know so little about. He dishes up a wonderfully dry, and often brash sense of humor that makes film watchers twinge and chuckle. Extremely strong willed, and filled with emotion, Cumberbatch opens up our eyes to a world so few of us know about, and leaves us wanting to explore more of Turing’s world.

Along with Cumberbatch, Keira Knightley, delivers a stunning and driven performance as the brilliant Joan Clark. Often times Knightley gets caught in period roles and struggles to become a convincing character, but she brought life to Joan Clarke, the witty, charismatic, kind-hearted counterpart to Turing’s haughty personality. It was a pleasure to watch Cumberbatch and Knightley convey two people, despite certain circumstances, hold such vehement love for one another. It was touching to see the support Clarke provided Turing and it spoke volumes to the human heart.

Though the acting was superb, the storyline often became muddled with flashbacks and flash-forwards, and often threw off the flow of the movie. Though Turing’s past played large importance to his interest in mathematics and code breaking, it was lost through time hops. It was a struggle to keep up with where they were in breaking the Nazi code “Enigma” and also the timeline of friendships. At times the storyline seemed rushed, and felt as if they were only giving a brief overview of what really happened. Recalling the fact that Turing at one point in the film is asked to become a Soviet spy, it is unclear if he ever fulfilled that role and also how it led to the ending of his engagement with Joan. When you are covering as much time as 30 years, it can be difficult to supply a clear explanation of everything that happened in a man’s life, so the film definitely had its challenges.

Alexandre Desplat again enchants us with a rich score that leaves a haunting aura around the film. Heavy and dark, the orchestra hums with deep bass and rhythms, while alluring us in with taunting strings. The score is beautifully written and plays a vital role in the film, constantly reminding us the dark days that plagued Europe during WWII. Though often low and dreary, the higher strings provide a sense of urgency, or anxiety. What was most remarkable where the times that Desplat left silence in the film, giving the audience a chance to catch their breath and admire the artistry before them. The score is emotional and poignant, leaving a deep sense of longing mixed with a desire to fulfill our inquisitive minds.

Director Morten Tyldum grants us the opportunity to discover a world that for many years was forbidden. Alan Turing for many is still an enigma. Tyldum breaks down some of that wall and cracks open that brilliant mind, allowing other hungry minds to follow an impulse. To investigate the man behind “Enigma.” Keep exploring my friends, keep exploring.

The Imitation Game is in theaters now. Watch trailer here.

Five Reasons to See "Theory of Everything" This Season.

1. It is a raw, emotional, and triumphant love story.

The Theory of Everything explores the intensely supportive and remarkable love story of Stephen and Jane Hawking, the famed Cambridge physicist and his first wife. It explores the the romantic high points and devastating low points of their other worldly love. Many know Stephen Hawking, the professor, but what came as a surprise to me was this incredibly strong and determined women who made Hawking’s world a possibility. I had not heard anything about Jane until I saw the movie, and afterwards I had this insatiable desire to fly to Cambridge and meet her personally. The movie may not follow their relationship to a chronologically tee, like is depicted in Jane’s memoir Travelling to Infinity: My Life with Stephen, but it captures the raw emotion and strong desire of two brilliant people and their passion for life and each other.

2. Eddie Redmayne and Felicity Jones give performances of a lifetime.

I am certain every major newspaper, online news source, and anything that can print words for people to read are raving as much as I am about the performances that Redmayne and Jones fulfill. There are no other words to describe it except “embodiment.” From Jane’s sturdy and quiet demeanor to the chronicled deterioration of one of the world’s most brilliant minds, I was swept into the Hawkings’ world for 2 hours, and left feeling like I had made two new friends. Their sheer embodiment led me on a roller coaster of emotions from happiness to love to disappointment to joy to anger to frustration to the utmost sadness and longing. They very much deserve every award they are nominated for in this upcoming season.

3. Director James Marsh took it and owned it.

Not only did he cast two of the best leads, he beautifully wove together a magical love story that made most people in relationships question their love. Marsh’s use of vibrant, yet different color palettes along with the theme of circles throughout the film make my heart leap with joy. It is so aesthetically pleasing that you almost want to weep the entire time at the pure beauty of it. Though I have not had the opportunity to see anything else he has directed, I can only expect that the themes will wrap up just as nicely as in Theory. By far my favorite thing is his use of a Super 8 camera to capture what are quaint and delightful family moments shared by the Hawkings’. They weave in and out of the film, connecting the past with the present, the Hawkings with the universe. It is beyond lovely.

4. Johann Johannsson’s score though…

Almost like Marsh’s use of the Super 8, Johannson’s score captures the spirited highs and painful lows of the Hawkings’ life together and tells their story through strong, uplifting strings and melancholy piano riffs. The music starts off cheery, bright to depict the feverishly intelligent and still healthy young Stephen Hawking, but as the music moves throughout the film we get slower, deeper tones to show the deterioration Stephen’s health as well as their marriage. The score is stunning and rightly captures these two incredible people and their heartwarming story.

5. Not your typical Romance film.

Though I keep ranting and raving about how romantically enlightening this tale is, it is in no way your typical romance. As we all know now, Jane and Stephen are no longer married. They did stay together for 26 years, but alas their marriage crumbled under the weight of fame and a desire for something more. Both remarried, Stephen to his nurse Elaine Mason (later divorced) and Jane to choir director Jonathan Hellyer Jones. At first thought this was incredibly heartbreaking to me. I wanted these two individuals to be triumphant in all aspects of life. But that was me fictionalizing two very real people. I think the lines that hit me the hardest where when Jones’ said, “I have loved you. I did my best,” because it slapped me back to reality. These characters are real people, with real challenges and real emotions. I can’t put them into my neat box and hope they stay together for romance sake. This movie showed us real people and how they tackle tough issues. It was refreshing, heartwarming, and devastating all at once, but above all it was a satisfying journey into the mind’s of two phenomenally “out-of-this-world” people.

The Theory of Everything is playing now in the U.S., click here for trailer.