MOVIEMAN

FOTO: godawa.com

Alejandro González Iñárritu is a remarkably talented man, whether you talk about cinematography, script or directing itself. He hadn’t made too many movies, but each and every one of them was a small masterpiece. So is the ”Birdman”.

In a really quality-poor movie year, Iñárritu has done it again, creating the most original American flick in years.

Everything about „Birdman” is fresh and different from the stale Hollywood mainstream.

Script is dynamic, creating real life characters that you can bond to. Casting is superb, with Keaton leading the way with the performance of his life. Ed Norton is that Ed Norton we have missed so much since ”Fight club” and his chemistry with Michael is one of the most magical moments in the entire story. Emma Stone, Naomi Watts and Zack Galifianakis support them all the way to the end. But good plot, explosive and witty dialogues and pristine acting aren’t Iñárritu's main weapon. No.

Greatest quality of ”Birdman” is its unique visual identity, rivalled this year only by ”Grand Budapest hotel”. Unlike Wes Anderson’s cartoonistic approach, Mexican director does it the old-fashion way. With his camera, surreally long cuts (first one is 53 (fifty-three) minutes long!) and intimate narrow frames. Final result is one of the most successful and lovable hybrids between theatre and cinema ever.

If there’s any sanity left in the members of the ”Academy”, ”Birdman” must harvest all the major ”Oscars” in February 2015. Giving the ”golden boy” for best male lead, best female support, best movie, best directing and best script to any other flick/director/actor/actresses would be a crime for a capital punishment. As well as a great injustice, both towards the film industry, and to the Alejandro ”Movieman” Iñárritu himself.

BIRDMAN - 10/10