MOVIE REVIEWS
BIRDCAGE & WHIPLASH
Cinematic (a)musing
Birdman: starring Starring Michael Keaton, Emma Stone,
Naomi Watts, Edward Norton,
Zach Galifianakis;
directed by Alejandro Gonzalez Inarritu
Whiplash: Starring Miles Teller, J.K. Simmons,
Paul Reiser, Melissa Benoist;
directed by Damien Chazelle
by Doug Young
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I saw these films together and so will review them together. But I’m having a hard time deciding which one to review first, or
even which one I liked better. I just can’t seem to get started.
(Oh come on! What are you waiting for? A
Pulitzer? Start writing a review of these films!
What’s the matter, don’t think you can say
anything insightful? Probative? Worthwhile?)
No, I’m just trying to collect my thoughts and put them down on paper with some modicum of wit, intelligence and coherence.
(Well la di da, any numbnuts with a pen
or smartphone can do that. I’m losing
interest in your drivel!)
Well, they both have one-word titles, are set in New York, focus on a male character, and involve the struggle of artists to perform — to stand out and achieve something honest and of high quality. They both feature stages (theater and concert), involve the interpretation of other artists’ work, and have characters roving through narrow halls of such places as they reflect on their lives, their choices and their art.
(Oh, wow! That’s real deep! Why not just
say the sun rises in the east?!)
Look, I just think it’s rather interesting that two films focusing on the same issue — striving for high art — have come out at the
same time. It says something about the nature of film, entertainment and commerce in these times of comic book superheroes,
“American Idol” and handheld audio and video devices. And who are you anyway?
(I’m Critic-Man. Vanquisher of vapidness,
conqueror of crap, extoller of excellence and
I’m here to encourage greatness from film
commentators like you, you feebleminded
drone!)
Well, I’m blessed, but do you have to be so harsh? Why all the causticness? Can’t you be encouraging with kindness?
(What, you want to be coddled? Criticism
is hard work! You have to be courageous
enough to trash the trash even if others
fervently disagree. You have to be able to
tout the triumphant and not make it appear
that you are just going along with everyone
else. You must stand out and yet be rele-
vant! It’s a tough and friendless business! So
quit whining and get to work!)
Ok, let’s see, I also noticed that both films use rehearsals and practicing as metaphors of life. Sure artists — like any profession — benefit from perfecting and honing their craft so as to make it look effortless. But a film that just showed this toil would be repetitive and dull. So, we see how the evolution of talent is essentially the evolution of character and even something
we can all relate to as we struggle to connect with others, to communicate and understand our place and purpose in the
world.
((Snort)…(cough)…oh, I’m sorry. Are you
done? Because I sorta dozed off there with
all that hokum.)
Oh come on! Even films like these can’t say something profound every second! They have to follow the rubrics of narrative and
structure. Are you expecting something earth shattering from me or these films?!
(No! I’m expecting something of quality!
Something that will tell me, the reader, that
you absorbed something from these films
that will make the reader want to see them
or not see them, or discover something that
they might have missed. Where’s your expe-
rience? What happened to those years of
film going and film writing?)
I’m doing the best I can! I have to work with what I’ve got in front of me. Here are two films that each use unique visual styles
and yet are equally effective in imparting the internal struggle of these two main characters. If I were to say that one of these characters is a movie star— in the true sense of that term — who used to be on the A-list due to his box office success as a comic book superhero and is trying to make it as a serious actor even though he is dogged (tormented?) by his
famous past while the other is a freshman jazz drummer at a prestigious music conservatory school who is menaced by a ruth-
lessly perfectionist teacher would that sound too pedantic and expository for you?
(Oh my yes! I can
read film synopses like
this at any number of
websites. I want much
more from critics like
you. Get on with your
linguistic flourishes, your
perspicacious prose!)
That’s what I’m trying to do! The films depict the human dilemma of focusing time, energy and resources in the pursuit
of some ideal, perfection, meaning and achievement, while, at the same time, being constrained by mundane and earth-
bound realities of making a living, raising a family, getting along with others, falling in love and hoping for acceptance. The trials and tribulations of this balance, the compromises and choices made, and tensions inherent in these pursuits are both poignant and dramatic. It’s very compelling — infused with the tension of a thriller or horror movie, but at the same
time uplifting and hopeful.
(Do you see my eyes welling up? Holy
cow! Are you some sort of mawkish softie?!
What are the faults! No critic worth his word
count would fail to point out failings, and
you, sadly, are failing!)
Are you trying to turn me into some jaded and insufferable grouch?! I thought you were supposed to inspire me to be unique,
intriguing and readable instead of just stereotypically critical. In fact, these films stand for the proposition that those around
us can validate our worth or can act as catalysts for constant improvement and betterment. These others can be a daughter
(Birdman) or father (Whiplash) or competitors (both). But it’s our own internal measurement of perfection that’s the strongest motivator. In both of these films this element is typified by a harsh critic that’s either real (Whiplash) or imagined (Birdman) who keeps us honest with our true selves and how we express that. It can be bruising and ruthless by rubbing our noses in the sacrifices we might make for perfecting a talent, but it can be equally motivating.
(You know, I’ve just about given up on
you. This is not helping at all! If you cannot
say something negative about these films,
what use are you?! I want to see you spill
some blood! Just like the message of these
two films whereby no one can be truly great
and honest unless they shed some blood,
same goes for film criticism. Unless you do
the same, you’ll never be a great reviewer!)
Well that’s just fine by me. These are two great films filled with creativity (Birdman is photographed as if in one long take with
each scene flowing into the next, while Whiplash makes something as static and staid as drumming both exciting and chal-
lenging) and acted with feeling and passion about something essential to human flourishing — art — and how we should not
settle for the mediocre and mindless.
(Well that’s just…)
I’m not finished! You also need to know that both films take a scathing look at critics. That’s right — people who don’t themselves produce art, but stand on the sidelines and nit pick work and destroy those who would seek to elevate the human spirit. And you, my dear Critic Man, are just the sort of voice that these films seek to expose and ridicule.
You make me sad!
(Clap…clap…clap. Bravo! Well there you
go! See? I have inspired you! Now, submit
this for publication and let’s get on to the
next work of art we can critique, my young
apprentice!)
