There’s no denying that Michael Keaton is at home in Birdman. The last movie I probably saw him in was Batman, way back when. He nails the grizzled, washed up actor on the head (and according to all the interviews I’ve seen, he’s a much happier person in real life, which is good to know). Similarly, Edward Norton is great as an egotistical, “serious” actor.
You’ve probably seen the picture of Norton in his underwear, or even a later incident of Keaton in his tighty whities. And I can’t help but think how a large part of this film is about masculinity. The women are nothing characters, played by good actresses, yes. But they are merely foils for uncomfortably aging men.
Keaton wears several wigs when on stage. To help highlight his character’s age and naturally receding hairline, a big point is made of him constantly taking off the wigs whenever he’s off stage. He also literally talks to a picture of his former self, Birdman. Depending on how you interpret the magic realism of the film (my grandmother, “He’s nuts.” or my aunt, “I liked that it was weird.”) probably reflects on how unhinged you believe Keaton’s character to be. I chose to see everything as existing in his own head, years of different substances taking their toll on his psyche, already weakened by lack of success as a “serious” actor.
Norton plays the actor Keaton’s character wishes he could be: respected and clearly gifted on stage. But it doesn’t take long for the audience to see the cracks in his persona as well, as he doesn’t even try to hide his preference to work while intoxicated. Emma Stone’s character might be a painfully thin, recovering drug addict fresh out of rehab, but she seems to be doing fairly OK compared to Norton and Keaton.
The movie’s subtitle is “The Unexpected Virtue of Ignorance” but it doesn’t seem like anyone in this movie is ignorant. They are all a bit too all knowing for me, even if all they really know is about their personal failures. I could have used an extra dimension to any of the side characters to take away from the bitterness of the lead males. But then, there was a guy walking around in a ridiculous bird suit. I guess the director figured dashes of absurdity would lighten the mood. But it goes back to whether you think it’s all in Keaton’s head or not, if you think the ending is hopeful or traumatic. I’m clearly in the latter camp.
The Profound Elephant 
