Obviously I was disappointed the BFI London Film Festival’s Surprise Film wasn’t Inherent Vice, but I got over that fairly quickly when Alejandro Inarritu popped up on screen to introduce Birdman. It’s been a while since the surprise was anything genuinely exciting. In fact last year, I did a runner after 20 minutes of The Grandmaster, so it was a massive improvement on that.
Birdman arrives with impressive reviews from the US and lots of awards chatter. It stars Michael Keaton as Riggan Thomson, a has-been movie superhero trying to make a second go of things on the Broadway stage. He’s divorced, egotistical, paranoid, and still fantasizes about his time in the feathers. When another egotistical star, Mike Shiner (Edward Norton), joins the cast, tensions rise and the play’s previews descend into chaos.
There’s some impressive camerawork here from Emmanuel Lubezki who won an Oscar for his amazing work on Gravity. Birdman is shot to look like a single take, although of course it isn’t. It feels quite claustrophobic at times, as if you’re in Thomson’s poor messed up head, confused and angry about the bird you used to be and the man you want to become.
I know I should have enjoyed this more, all the elements are there – it’s very funny, it looks good, and Norton and Keaton are fantastic. But I just felt a bit disappointed. Maybe Riggan is just too unlikable. Maybe Inarritu just needed to rein it in a bit. Maybe ultimately Birdman is just a bit too pleased with itself. And it did that thing that always annoys me – if you’re going to end a film just end it, don’t fanny about pretending it’s the end then going on a bit longer. Only Blazing Saddles can get away with that.
There’s a lot to admire here, and god knows I’d rather see something like this than one of the tedious superhero blockbusters that keep being churned out. But sorry, Birdman, you just didn’t fly for me.