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in Iraq where many magical realism, tells the story of an extraordinary history of Hollywood actor fought Broadway. Reagan Thompson, as a former Hollywood star, was not satisfied with fame and wealth. Instead, he devoted all his fame and money to rehearsing a play that was very niche for entertaining the masses. The interview fragments passing by in the film and the drama critics who have spent some pen and ink depicting are in fact endorsements and portrayals of this group of entertaining crowds. It is they who praised a lot of entertainment works lacking serious academic value and a style of entertainment. Obviously, Reagan thought he was on the opposite side of them.
When a person thinks he sees the world more clearly because of his self-awareness, he will inevitably have some cynicism, which will lead to a kind of schizophrenia. Reagan is such a schizophrenic actor. He was once a birdman. This identity not only gave him a sense of superiority in Hollywood heroism above 10,000, but also made him doubt his own industry and the value of superhero movies. In the end, he gave up taking the birdman sequel and went to attack Raymond Carver. But he can't completely abandon this sense of superiority that was once above ten thousand people, and the interpretation of the audience's thinking (they only want entertainment) has also deepened his self-superiority complex from one side. He wants to conquer the audience in the theater again, in part because he hates their superficiality, so he especially wants to show his non-superficiality. The result he wants-including his "insults" to female critics in bars (of course the passage itself is very exciting)-is an idealized worship of the elite by the masses. And this is impossible in the current American society. As Reagan's daughter told him in the lounge, in fact, he is no different from "his antithesis"-all the others-in essence. "Superficial" people flocked into the cinema to prove their existence by watching superhero movies, evaporating tears and massive consumption of Coke; and he, an actor who is outdated in the eyes of the masses, is adapting a 60 The old novels of the 20's prove their existence. Since they are all just for a kind of business card existence, no matter who is struggling, who is happy; who creates depth, who is arty; who stands on the stage, who is living on the street, in a neutral person (this time is his Daughter) It seems that there is no difference between superior and inferior.
(By the way, this—people are not different to a certain extent—is the most fundamental core I think American-style egalitarianism can exist.)
In the film, Reagan's struggle never stops. On the one hand he wantonly satirizes Birdman as a hero of the masses (and the monster as a partner), on the other hand he cannot do without the shadow of Birdman. On the one hand, he disdains celebrities, and on the other hand, he always pays attention to celebrities who might come to watch the drama, including Hollywood directors (of course, a relatively good host). Heroes, or celebrities, are actually the same. Celebrities are role models and heroes of the masses; they have the status and the state of life that the masses desire consciously or unconsciously. This is also the biggest paradox of egalitarianism. On the one hand, it cannot distinguish between people and people; on the other hand, it cannot prevent this theoretical equality from still causing different forms of imbalance in the minds of different people. I personally feel that, to some extent, in contemporary society, "great" or "superior" as adjectives have never disappeared, but only become more ambiguous. In this ambiguity, Reagan lost himself. His story is not a contest between profound and superficial, but a game between identity and value, self-cognition and social cognition.
As a film with a large number of opposites (including the most fundamental-reality and magic; and the most fundamental technically-long shots and montages) as the main point, there are many oppositions in the film. For example, the Hollywood celebrity Mike, he is omnipotent on stage; but physically, he has the pain that is difficult to hide. His disguise and sincerity are obvious, which made him beaten by Reagan more than once, but it also made Reagan's daughter Samir fall in love with him. As a drug addict, it is almost an instinctive choice for Samir to be obsessed with the sadness that is magnified by confinement, intimacy and whispers under this halo.
As the film approached, Reagan ushered in his ending-although the audience thought he wanted to commit suicide, what he was waiting for was not a tragedy. Reagan completed the performance and became a new trademark. He bid farewell to his other heavy personality-Birdman, and completed his return to society. Of course, from a certain perspective, when Reagan became "the man who brought new trends to Broadway and American drama", this return was more like a tragedy than physical suicide—he was still just a superhero, a Celebrity, a trademark being chased, a media headline—just as he was when he was a birdman. This is how the public interprets information, whether you are Birdman, Carver, Little Apple or Shakespeare; no matter what you are acting, what meaning is in your own opinion. In this contemporary society, in the media In my eyes, there is only one way to interpret you, and that is the way of entertainment. Bakhtin is right, this is a post-modern society, this is a society where the whole people carnival. The critic in the bar actually fulfilled her promise-I will ruin your play. And the way she ruined it was to turn it into a new trend.
(So I have to mention one thing that everyone knows, this film, as part of the national carnival, won the Oscar. I want to say, deliberately.) In the
end, the film is in the shadow of Reagan disappearing from the window. , In the lingering sound of his daughter's Mona Lisa smile, ended lightly. It doesn't matter whether Reagan is dead or alive. As the person he had fantasised about, he was dead in the gunshots of the concert-or he hadn't lived since the beginning; and he, as the new aura in the eyes of the public, along with many other auras, is still endless Floating endlessly, as a hero, as a celebrity, as a birdman, Carver, Little Apple and Shakespeare, as a topic, among ten thousand people, above ten thousand people, worshipped, talked about, cast aside, and also Forgotten.
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