
Magicians always say there is more magic in Andrea Arnold’s films, and we remain in the action when Arnold’s character in “Bird”, which is a reworking of the themes that she has used once, also breathes the magical idea that anything in her film can truly happen. Arnold, on the other hand, delves once more into the life of a young British girl, who has frightening aspects heard in “Fish Tank” and also moves a lot of scenes with ideas from popular songs like “American Honey.” Probably for this reason the film was too easily ignored as familiar/ easy. Arnold’s new film elevates the potential of youth, and in this case, it just takes a little bit of magic to achieve it. This voice marks Bird as an indicator that Arnold’s films are veering towards the mainstream and the risk-taking will begin with Arnold’s next work.
In a graffiti-filled tenement, Bailey (Nykiya Adams) and her father, Bug, portrayed by Barry Keoghan, try to survive and make the best out of a tough situation. Bailey is a teenager taking care of a baby, leaving her father frustrated and unable to mature mentally. At first, Bug’s role appears to be that of a cold and intimidating man, but thanks to Arnold’s uncompromising vision and Keogahn’s pretended work, they lead us to believe otherwise. Moreover, he develops ridiculous plans and marries his half-brother after three months of knowing each other, but he is never negligent of Bailey and her brother. He wants happiness for himself and his family. There is a monster that lives in freedom in the same house as Bailey’s half-sisters. He is an evil monster who is created so that we can see Bug in a new way. And he is not superfluous such monsters are to remind Bailey of what is out there.
Is it any surprise that she enchants to soar in the sky? Even her blood brother Hunter (Jason Buda) vaguely seeks to bring a sense of order into a chaotic world by collaborating with his colleagues to make viral videos that seek revenge on those that they consider to be worthy of it.
As Bailey fights to understand her role in a world that seems to have no rules, Bird, played by Franz Rogowski, rather dramatically makes an entrance in all of her mess. One day, Bailey is on a field and the wind blows and he is there. He says he used to reside in a nearby boarding house and asks her to assist him in locating his relatives, but she could tell Ber seems a little strange. The way Rogowski employs his half-smile combined with a fidgety stance is the kind of physicality that gets overlooked in acting a lot. It is an interesting performance I do not think any now understands how to embody a character and present a theme as vividly as Rogowski does through constant multipurpose use of their physicality.
The term “Bird” is not one we can easily classify as it encompasses different aspects of the universe such as. Picture this scene for instance: Hunter is sending a letter to his expectant girl: another case of children making children but the parents are locking the girl in the room. Bailey gives a note to a bird which flies it over to the balcony on the top floor. Things have gotten a little different with the cosmos in the vicinity of Bailey, and that’s indeed ground-breaking in another sense. Arnold makes such emphatic movements now and then, and she simply asks that the audience surrender with her does it seem likely? The point is not in likelihood, but instead what the action evokes.
What contributes further is the fact that Adams who is a relative newcomer manages to give off such seamless acting too. Keoghan and Rogowski, we understand their capabilities, while it is without a doubt Adams who is in the main role for almost the entire movie. A talented young actress in particular is always over-directed, but Adams is worse for the sheer ability to watch yes, we are convinced that she is on the set and not in a film, in a tight scene. Everyone here is great, which is again a good confirmation of Arnold as a director. A lot of her work in that area tends to be overlooked. You can hardly find a bad performance in any Arnold film.
There’s a subplot in “Bird” in which Bug seeks to persuade a toad to secrete its psychedelic slime so that he can sell them and raise money for his wedding. He discovers that the creature enjoys “genuine” music and so they play “Yellow” by Coldplay for the creature. This is a great scene that Christopher Arnold’s films tend to sentimentalize, especially after what has been described as a documentary and a musical in the same context. And this is accompanied by the constant presence within the soundtrack of Blur’s great song “The Universal” which Bug is trying to sing on the Wedding Day. A nice tune about disenchantment: “Yes, the future is sold”, only stops when you find the promise of the universe. Naturally, the refrain there is embedded in the entire film. After all, remember: “It, really, really could happen.”
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