The Sound and the Fury of Birdman

Birdman

Alejandro Gonzalez Inarritu’s Birdman (from an a script inexplicable penned by the director and three others) might be a film about a washed-up action star writing and directing a Broadway adaptation of Raymond Carver’s classic short story, “What We Talk About When We Talk About Love,” but it’s that old Shakespeare quote about life being, “…a tale.  Told by an idiot, full of sound and fury.  Signifying nothing.” which inspired the title of William Faulkner’s alleged magnum opus (I’m not going to go off on a side-rant here about how Light in August is really his magnum opus and not The Sound and the Fury, which to me was always so…well…kinda like this Birdman here…self-indulgent) that runs through a viewer’s mind while watching Michael Keaton ACT!

Birdman is the super hero Riggan Thomson (Keaton) played twenty years ago and made him a mega-celebrity.  The Carver play is the intimate character-driven art piece he so desperately wants to restore his street cred and remake him into an Actor rather than a celebrity.  Inarritu’s film, in which the Birdman, the man who played him, and the play he creates exist, is exactly the type of film that people who watch only movies like Birdman (as in the explosion filled super hero movie within the film Birdman, not the actual film Birdman) think people who go to watch films like Birdman (the film, not the movie within the film) go to watch.  I can tell you now, Birdman, at times, is the worst type of those types of films that I like to watch.   It’s also, at times, maddeningly brilliant.

Inarritu’s central conceit is all so very meta and insular, appealing to those who believe in the myth of the tortured artist (“What do you risk?” Keaton blusteringly asks a brusk Broadway critic, “I RISK EVERYTHING ON THE STAGE!”) and those who live it.  It’s been dissected many times before.  It brought to mind the lines from a classic episode of Seinfeld where Jerry is forced to wear a fur coat and man-purse and the building super Silvio mocks him saying, “No, he’s very fancy! Want me, love me! Shower me with kisses!”  So then, how does a Director and a Cast make this often mocked mindset seem fresh and meaningful?  Surround it with sound and fury. Continue reading

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The Two Faces of Helen Mirren

Oscar-winner Helen Mirren is at the point in her career where she is an institution in the world of acting.  Actresses occupying this rarefied air (like Streep) generally will pick roles either for fun or to win awards (though they would never admit to that).  Whether doing it for fun or for serious posturing, Mirren’s name instantly adds a sense of class and gravitas to any film she stars in.  This past Labor Day weekend, movie-goers could see The Helen Mirren in two puzzling films, Brighton Rock and The Debt

Helen Mirren in BRIGHTON ROCK

 

Helen Mirren in THE DEBT

 

***POTENTIAL SPOILERS AHEAD – Read With Caution***

First up is Brighton Rock.  Whether you view it as a remake of the 1947 quasi-classic (of which I wasn’t a big fan) or as a different adaptation of Graham Greene’s classic 1937 novel (which I loved and count among his best)…the film has no reason to exist, which isn’t to say it’s all that bad.  Director Rowan Joffe lays on the atmosphere thickly, and for the most part the film is engaging enough.  The seedy underbelly of England’s seaside resort town of Brighton is brought to life in grand fashion with nice production values, moody lighting and ominous waves crashing underneath the pier, though there is a rather oppressive music score to accompany it.  Continue reading