WHY BIRDMAN IS A RIPP OFF

As a Mexican American I was kinda proud and surprised (my cynicism didn't allow me to imagine Mexicans winning awards two years in a row here up north), Birdman swept statues and paper weights. I loved the film. Thought it creative. Original even. Fast forward a month and on the all mighty YouTube/netflix I caught Pablo Larrain's Tony Manero. WHAT?! After watching Tony Manero's contained intensity, it immediately reminded me of Birdman, and only reinforced a particular theory I have about filmmakers. That when some directors gets so inspired by a movie, said person copies the inspirational material (always peppered with original nuances or extra themes). But disguises it in a Ying Yang homage of sorts. And yeah, my title is exaggerated, but if you read films like I do than you'll understand.

Similarities abound:

• The films follow distraught violent men. Literally. Cameras shadow - always looming behind catching a side glance or the back/shoulder of mentally wounded men. 
• Women are complimentary (some used, however you want to see it) and ever present marking relationships as crucial yet sidelined (or abused). 
• STAGES ABOUND BOTH FLIKS & 
• the cogs of what happens behind the scenes rehearsals and all, exposed. The act of creating! What a beauty. 
• Anyway, in both films performers are bonkers because some people are difficult one track minded creatures. Driven by fantasy, delusions or whatever.
• Disrobing.

Also, both films have open for interpretation endings. Kinda.

Remember the Wrestler (2008)? When Darren Aronofsky's leading fighter is flying in the air and it just ends? We know he has a heart condition, so it's up to us to finalize the ending. Does he live? Or does he die? Its up for interpretation. Same goes for Birdman. Dose he commit suicide? Is it a fantasy? Taking flight, the act of creating is beautiful, but not when it destroys you, consuming your every move like Pablo Larrain's leading man. So, when the ending comes around in Tony Manero, the viewer is scared shitless for the couple sitting inside the bus, ahead of Raul (watch the movie!). But to me, the messages are clear.

In Birdman a daughter tells off her dad letting him known he's basically worthless. In Tony Manero, a lady becomes excited by intense man but doesn't really need him. Earlier the lady is disrobed & toweled off almost like an offering. Later on - a steamy foreplay scene unfolds in what appears to be an approaching you know what - finishes off by the lady finishing herself off. Yes. Awkward but in a great way. In Birdman there is a staged sex scene where Ed gets a hardOn (creation is so intense that it's mojo for some) & Naomi proceeds to loose her mind back stage. Another awkward sex scene, of sorts.

Whether it's via a fightclub, a fantasy, escapism, delusions or just a nice CGI sequence the descent of an artist's/performer's soul is an interesting thing to watch. That's for sure.

Panos Cosmatos'

Beyond the Black Rainbow is a deep flickering trance of Jungian, twinning/reflection (pyramids turning into crystals, etc), dependence, mind control, murder, maiden, mother, crone, psychopathy, and homage to cinema & electronic sound ambiance engineering long passed, but not forgotten (if anything, it's absorbed/embedded into our psyche. C'mon, you know you watched channel 11 WPIX!). Anyhow, the black rainbow, at least for me, is the highway Elena crosses, which divide the row of houses filled with synthetic depravity and psychosis. & on the other side is a field. Nature. Barry drives on this highway, his journey long ago finished. Now he's just on maniacal auto-pilot. Sure they have award winning gardens, but that's all contained. Lab grown. Self enhancements\toupees and eye contacts are called appliances. Makes sense because you're applying it unto yourself. Kinda how generations have applied trillion dollars worth of self help "how to" books, pills, ego boosters whether by hormones (think a puffy puff daddy applying a deodorant made of testosterone, compliments of Biggie Smalls), accessories, or scientiological institutions, whatever.
But nothing can truly hide the vampire. Poor Barry. A married Igor. And doesn't Barry look like the evil child of Robert Altman & Tool's Maynard? The one eye monster Barry peels off his layers too, in exchange for more cocooning into Panamanian leather. Applications uninstalled. No choice but to go hunting.

Mercurio Arboria lies decrepit and just murdered, watching an original wikipedia on Haleakala. And on the mini screen a row of houses opposite side a vast coast. His death signaling and propelling his captive daughter's freedom. Not a sacrifice, but more like sweeping up old remnants of knowledge past. Via his eyes, Elena who is the true heir of Arboria, telepathically watches a nature show, hears a farewell, and all the while feeling Mercurio's death. A superior woman's multitasking/becoming one with her dying father never looked so good.

Elena, Rosemary, Anna & Margo. Typically the Maiden, Mother & Crone, but because humans decompose and get sick, Cosmatos added a modern day caregiver. Just for good measure. Margo the fake and cold nurse/servant. Elena the beautiful captive, but the person who truly evolved to possess full control & power (everything revolves around her, doesn't it?). Anna is a mom memory. Always in the background (or foreground). Rosemary the perpetual pothead crone is the anima Barry has vast amounts of contempt for. We've all been there. In all, Cosmatos inserted these female archetypes so subtly its practically genius.

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In conclusion, after you've ODed on BtBR you may counteract all the aftermath affects with this --->ANTEDOTE FOR BtBR<----- font="">