------------I am entering the boundary line of the topic------------
Riggan (Michael Keaton) rushed in with a gun and faced Lesley (Naomi Watts) on the bed There were a total of three appearances in this drama film with Mike (Edward Norton). The first two were rehearsals (Broadway plays are usually rehearsed for a few weeks to see the audience’s reaction in order to adjust. After the first performance, the critics will participate in the comments. Of course It is also very common for movie reviews to come out early), and the third time is the night of the premiere.
The lines in this play are like this:
LESLEY Ed (Riggan’s role name in the play)! What are you doing here?
RIGGAN Why? I need you to tell me why.
MIKE Listen Ed, I know this is hard but--（
被揍）RIGGAN Shut Up! Shut up!
RIGGAN What's wrong with me? Why do I end up having to beg people to love me?
LESLEY Ed. Eddie. Please... Give me the gun. Just look at me. I was drowning. I was not capable of-- You deserve to be loved.
RIGGAN I just wanted to be what you wanted. Now I spend every fucking minute（第二次说的是fucking day）praying to be someone else. Someone I'm not. Anybody...
MIKE Put down the gun, Ed. She just doesn't love you anymore.（被揍= = ）
RIGGAN You don't, do you?
LESLEY No...
RIGGAN And you never will...
LESLEY I'm sorry.
RIGGAN I don't exist. I'm not even here. None of this even matters. I don't exist... (the last two sentences did not say it for the third time) The
first time this scene appeared was from Mike and Lesley's perspective. Mike wanted to go with Lesley on stage and was rejected by Lesley, and then because he was tough Was laughed at by the audience. The second time was from Riggan's perspective. Riggan was locked outside the theater and forced to "paradise" before returning to the theater, walking from the auditorium to the stage. The third time is from the perspective of the audience, or more like the perspective of God, everything seems to be on the right track.
When it first appeared, the effect of the performance was ridiculous, unreal and infantile (birdman voiceover describes the script language adapted by Riggan, naive and immature). Mike complained in the background that the gun looked fake, which further confirmed this. At this time, Riggan was still immersed in the fantasy of his own actor's dreams, and was unable to extricate himself from the obsession with himself. For the second time, Riggan vented his anger towards life and his previous encounters in this performance (shown as he yelled at the audience who laughed at him), and Lesley’s phrase "what are you doing here" is also true. Inwardly, she didn't expect Riggan to emerge from the Stage Door. Riggan didn't finish speaking the last few lines before the camera shook to the backstage, freezing the empty mirror in the backstage corridor, only to hear gunshots—the audience exclaimed—the audience cheered.
The third time was the night of the premiere. After experiencing Sam (Emma Stone)'s roar, Mike's mockery, the pouring cold water from the critics, and Birdman's voice-over awakening, Riggan gradually realized the reality of "I don't exist", and his performance began to rise to the realm of soul. Those murmured "I don't exist, I'm not even here" are more like persuading themselves to accept this fact, as the daughter said: "You are not important at all, accept this reality (You're not important. Get used to it.).” Another aspect of reality is on the real gun, which echoes the fake gun that Mike said for the first time.
These three performances are not only a process of improving performance, but also a profile of Riggan's search and positioning of himself.
Riggan and Mike are a bit like the incarnation of idealism and realism. Riggan insisted on arranging Carver's book, which is obscure and not favored by the market, simply because Carver went to read it when he was acting in Syracuse in high school and handed him words of encouragement on a tissue. Riggan, who has been recognized by the great god, has always been carrying his humble dream, hoping to wash his name as an anime star and become a real actor. On Broadway, Mike is talented and self-willed. He laughs coolly at Riggan’s ideals. He does his job as he wants, and changes his lines as he likes. He seems to live a free and easy life, but he admits that he doesn’t need to pretend only on the stage. At the rest of the time, he didn't even dare to take a big adventure. But in life, Riggan appears inferior. Although he is very self-conscious, Mike keeps emphasizing don't be so self conscious despite his radiance.
Which is happier, Riggan or Mike? Or which one is the poor person? On the surface, Riggan seems to be even more pitiful: on the verge of bankruptcy, misfortune in marriage, departure of his girlfriend, unsatisfactory daughter, low career, ups and downs in performances, and he is late again (the line Sixty is another thiry shows that he is in his sixtieth year). Mike is younger than him, has a successful career, and is well-versed between Broadway and Hollywood. The audience likes him and the critics like him, and he is more emotionally free and easy. But Mike's coolness just revealed the preciousness of Riggan's straightforwardness. Although this setting is a bit of chicken soup, birdman’s appearance of selling chicken soup to cheer up made the film a big discount, but the white space at the end of the film is a fortune-no one knows whether Riggan or Mike will live better. Outsiders judge others. His life can only be a false proposition forever.
I remembered what my neighbor @北溟鱼 said two days ago:
"It is especially annoying for people who are pretending to watch the fire,'I have already looked away, drifting with the flow, and not disturbed by it'. You kneel and kneel on your own, laughing at other people’s idealism, Sensitivity and struggle have no effect other than being relatively low. The most touching part of human civilization happens to be the creation of sensitivity and struggle that cannot be sold or even made people feel happy." I
deeply agree.
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