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Review: In the hardscrabble ‘Bird,’ hope is scarce — but sometimes it comes from above

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Review: In the hardscrabble 'Bird,' hope is scarce — but sometimes it comes from above

As a film enthusiast who has spent a lifetime immersed in the raw and gritty realities of human existence, I found “Bird” to be a breath of fresh air amidst the familiar landscape of social realism. Andrea Arnold’s latest offering is a testament to the power of hope, even when it seems like everything around us is crumbling.

The film “Bird” by director Andrea Arnold delves into a familiar setting of youth living on the outskirts, finding ways to survive with limited resources, oscillating between intense anger and moments of fun. However, this story, centered around a strong and perceptive 12-year-old named Bailey (newcomer Nykiya Adams), carries an undercurrent of optimism that seems like a fresh tone for Britain’s leading figure in social realism.

You witness it in the thrilling pace of a motorbike whizzing through both decayed and picturesque Kent, and later, in impulsive Bailey fleeing from the turmoil of her life, residing in a graffiti-covered squat with her young father Bug (a rugged, rowdy Barry Keoghan). In search of belonging, she joins a traveling vigilante group.

However, the theme is also evident in the leisurely rhythm of Bug’s constant play of the Blur song “The Universal,” a choice he makes as he eagerly anticipates his wedding to Kayleigh (played by Frankie Box). Though she’s friendly and not entirely unfamiliar with the music scene, she’s relatively new. Neither is the mother of Bailey nor Hunter (portrayed by Jason Buda), and there’s a young child living in this makeshift apartment. So, remember to reserve judgment on co-parenting situations before tuning into Arnold; after all, if your sensibilities are easily ruffled, you wouldn’t be watching this series.

Constantly, soaring seabirds and crows fill the sky above Bailey, accompanying her wherever she goes, capturing her affectionate attention as subjects for artistic phone videos. Are they cautious guardians or emblems of liberation for someone resisting a marriage she has no interest in? It’s understandable that she feels this way, given the bridesmaids are expected to wear an unsightly purple leopard-print jumpsuit. Bailey expresses her discontent by having a friend cut off her stunning afro hairstyle.

Review: In the hardscrabble 'Bird,' hope is scarce — but sometimes it comes from above

Dad’s currently engrossed and not fully responsive, but here’s what I gather: Bug is attempting to finance the wedding by acquiring an exotic toad from Colorado. The plan is to play a catchy, heartfelt pop tune to it, which supposedly makes the toad secrete hallucinogenic slime, potentially generating profit. If Arnold’s character ever had a prime objective in the Keoghan universe, this could be it. (And for those familiar with “Saltburn”, get ready for a playful nod towards one of the song options.)

In the course of her tumultuous journey towards maturity, Bailey experiences a gradual calming when she encounters a peculiar, kind-hearted nomad (Franz Rogowski), who introduces himself as Bird and seems to aid Bailey in consolidating her outcast emotions into a lasting compassion. There’s not much revealed about Rogowski’s character, but it’s easy to surmise his nature; the renowned German actor imbues him with a hypnotic quality of fairy tale delicacy.

In a nod to the renowned filmmaker Ken Loach, who often portrays the struggles of working-class people, Arnold’s latest work appears to deliberately pay tribute by resembling his 1969 classic “Kes” titled “Bird.” Using the authentic, up-close cinematography of longtime collaborator Robbie Ryan, Arnold seems to be acknowledging Loach’s influence. The film’s enchanting visuals, which include birds alongside other animals such as horses, butterflies, dogs, and snakes (including a symbolic toad that might just be a mule), are characteristic of the delicate beauty and fragility Arnold consistently portrays in her stories.

The characters that stand out in this setting are Adams’ genuine and peaceful demeanor, mixed with an understated intensity; Keoghan’s charming yet slightly ominous warmth; Rogowski’s enigmatic, powerful vulnerability. If it’s too much to expect Arnold’s portrayal of raw naturalism to be entirely coherent, “Bird” still manages to pulse with a sense of pain and affection for the turbulent phase of life, showcasing a director who isn’t afraid to lay bare her emotions if she deals with the subject that flies.

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2024-11-14 23:31

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