What’s Going On?

The scene starts with Riggan (Michael Keaton) waking up on the street, looking a little worse for wear, with a gruff-voiced individual lambasting him. We learn that this individual is Birdman, the superhero character that launched Riggan to movie stardom. Riggan walks down the street with Birdman right behind him, continuing his criticism, insisting no one wants the artistic theatrical project he is currently working on, they want action, they want excitement, they want Birdman. Eventually, this seems to have some sort of effect on Riggan, who stops, snaps his fingers and the New York street erupts into superhero movie style action. There are exploding cars, SWAT teams firing at helicopters and eventually a giant robotic bird monster swooping down and laying waste to the street. Then it snaps back to something more like reality only to see Riggan give a birdlike squawk and slowly begin to float upwards with Birdman declaring that not even gravity has an effect on him.

Actor or Movie Star?

There is a lot happening in Birdman and this scene captures a lot of the spirit of the whole film. Riggan is grappling with his idea of being an actor and/or movie star. He is most famous for the superhero blockbuster Birdman movies but Riggan consciously stepped away from the role, eventually doing a play on Broadway in an attempt to be seen as a “proper” actor. Of course, Michael Keaton’s career has a somewhat similar story, stepping away from the role of Batman which did lead to a downturn in his career. Thankfully, after a few quiet years, Keaton came back to cement his position in Hollywood.

Whilst there are other actors in the scene they are very much just in the background. Keaton is playing Riggan and Birdman with the latter having essentially all the dialogue as Riggan’s only contribution is a birdlike squawk. Keaton does a good job of dealing with the oddness Riggan is going through and we are never sure whether Birdman is merely a device in his own mind telling him things and he is perfectly aware Birdman isn’t real, or that Riggan does think Birdman is real but it is a delusion, or if Birdman is indeed real. The film plays with reality throughout the story with Riggan often oblivious to the oddness around him. The scene starts with Riggan waking up and feeling rough but within a few seconds, he seems to be actively participating in the impossible things going on around him. As Riggan walks down the street and Birdman is berating him a strange determined calm takes over him and the uneasy man who woke up on the street has been replaced with someone entirely at ease.

The best moment in this bizarre scene is perhaps Riggan snapping his fingers and seemingly summoning this action scene extravaganza. The figure of Birdman is no longer in shot and it seems as if Riggan has decided that this is what he wants and he can sideline the “pretentious” play and be a cool action hero. As the fighting starts the point of view changes from the audience observing Riggan to presumably taking his point of view with Birdman directly talking to him.

Actor and Movie Star

When Keaton was making the Batman movies they were perceived very differently than today. Batman and Batman Returns are great films but it was felt by some that Jack Nicholson was lowering himself to play the Joker – despite giving an amazing performance. The choice that once actors may have felt that had to make – action star or serious actor – doesn’t really exist anymore. Riggan can do Broadway plays and Birdman 3. Hollywood legend Robert Redford can play the villain in Captain America: The Winter Soldier and it doesn’t automatically diminish his image. Keaton is masterful in this scene and shows just what a great actor he is whether he’s playing Batman, Riggan or anyone else.

Also Read: Iconic Scenes: No Country For Old Men – The Coin Toss Scene

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Today we will look at four movies that either actually shot all of their action in one take or edited the footage to make their film appear like one continuous shot. And we will look at how this presentation style enhances each film.

Russian Ark (The Surreality of History)

One of the few films to actually capture all of its action in one unbroken take. Russian Ark, filmed in the Hermitage Museum and featuring hundreds of extras, uses the oner to create a surreal atmosphere. Which helps to facilitate its free-flowing exploration of Russia’s past. As we cross through various rooms we see Tsars and Tsarinas, lavish balls, intimate meals, beautiful artworks from centuries ago and characters from different times discussing Russia’s place in the pantheon of global history. It’s a fascinating art piece whose camerawork evokes the beauty of dreams. And acts as a unique ode to the vastness of Russian history.

Birdman: Or (The Unexpected Virtue of Ignorance) (Theatrical Beauty)

This Best Picture winner concerns an ex-superhero actor (Michael Keaton) trying to reclaim the spotlight by starring in a play. Along the way, he encounters troubles with family, fellow actors as well as others behind the scenes, critics, audiences, and himself. The continuous-looking shot (achieved through great editing) fits thematically with the theatrical centre of Birdman’s plot. The brilliantly flowing camerawork, courtesy of Emmanuel Lubezki, adds a level of real grace to proceedings. Additionally, it encapsulates the frantic pace and energy of live productions. And when combined with brilliant performances from Keaton, Emma Stone and Edward Norton along with brilliant effects, Birdman becomes a compelling look into the mind of someone obsessed with film and plays.

Utøya – July 22 (Realistic Immersion)

Utøya follows Kaja (Andrea Berntzen) as she experiences the 2011 Utøya island terror attack. Aside from the opening, which shows the events leading up to the Utøya attack, the rest of the film is done in one take. Utøya uses its camera to place us firmly alongside the teenagers and their desperate position on the island. Putting the human face of that tragic day on full display. Persistent gunshots really foreground the danger the characters are in. And every moment without a cut is a constant panic as we watch everyone wrestle with what to do next. The oner is used effectively to allow us to feel the terror of the situation. An arresting film that everyone should see.

Boiling Point (Humanist Immersion)

Like Utøya Boiling Point uses its single take to immerse us within a particular setting. This time we follow restaurant staff during a busy pre-Christmas shift. But Boiling Point uses this technique to also allow us to get to know the characters. We spend time with everyone who is working. Including servers dealing with terrible customers, pot washers sneaking off for a cigarette, new employees adjusting to their stations, and the constantly stressed kitchen staff. By the end we have spent so much unbroken time in the restaurant with the team that we have an attachment to them. And while an edited film could achieve similar goals the one-shot approach helps us to experience the place and stress of the moment like the characters. It is the most accurate depiction of what working in the service industry is like.

Those are four films that have used the one-shot (both pseudo and actual) in ways that have made their narratives better. Make sure to add these films to your watchlist if you haven’t already. And please tell us about any oner films we may have missed.

Also Read: The Perfect Batman: A Look At The Actor & Director Duos Behind The Films

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