Black Swan (2010)
Directed by Darren Aronofsky
Written by Mark Heyman
Starring Natalie Portman, Mila Kunis, Vincent Cassell, Barbara Hershey, Winona Ryder
Release Date December 3rd, 2010
Published December 2nd, 2010
Cause this is f.....d up, f....d up.." Thom Yorke "Black Swan" The Eraser 2006.
Thom Yorke unknowingly encapsulated Darren Aronofsky's “Black Swan” in his song Black Swan back in 2006. Indeed, “Black Swan” the movie is 'F....d up.' The story of a prima ballerina in New York City who gets her big break as the lead in the legendary "Swan Lake."
“Black Swan” is extreme melodrama of a kind that only Darren Aronofsky can create and features a second to none, tour de force performance from Natalie Portman that bears comparison with De Niro's method take on Jake Lamotta in “Raging Bull.”
In “Black Swan” Natalie Portman stars as Nina Sayers an overgrown child with dreams of being the featured performer at the New York City Ballet. Living at home with her codependent mom (Barbara Hershey) whose own failure to rise beyond the corps in the same company years earlier has driven much of Nina's own career. If having her mother trying to live vicariously through her isn't troubling enough, Nina is also a cutter who has apparently started cutting again as we join the story; her mother discovers a scratch on Nina's back as she dresses her.
Arriving at Lincoln Center for the beginning of rehearsals for a new season Nina finds that the company's lead ballerina, Beth (Winona Ryder) is being forced out and that Thomas (Vincent Cassell) will mount a newly re-imagined version of Swan Lake with a new lead dancer. Complicating matters for Nina is the arrival of a new, free spirited dancer from the west coast, Lily (Mila Kunis), who Thomas has apparently recruited specifically to join this production.
The plot unfolds as one might expect as Nina finds herself in competition with Lily and constantly concerned that the newcomer is attempting to undermine her. What is not predictable is the ways in which director Darren Aronofsky and cinematographer Matthew Libatique turn up the heat on these proceedings and juice “Black Swan” from slight, goofy melodrama into an over the top camp melodrama that combines exploitation films with high minded art films like we've never seen before.
Natalie Portman spent months training to become a ballet professional losing more than 25 pounds from her already slight frame and allegedly breaking both ribs and toes in the process. I will put what Ms. Portman did up against the physical commitment of any actor in just about any role; her commitment here is remarkable and the performance is devastating as a result.
In previous roles Ms. Portman has played vulnerable but in “Black Swan” she takes on a frightful level of frailty. Looking as if a stiff breeze could take her away and speaking with the quivering voice of a small child, Ms. Portman portrays a fragility that is both physical and emotional. As Nina descends the depths of “Black Swan” Ms. Portman's delicate performance acquires bizarre new levels and by the end you are so fascinated by her that “Black Swan's” many artistic flights slip past almost unnoticed.
The extraordinary look of “Black Swan” is achieved with a combination of hand held digital and an extraordinarily small 16 millimeter film camera with minimal movie lighting that gives an intimate, almost claustrophobic effect in scenes set in Nina’s tiny apartment and an elegant yet macabre look during the lavishly produced ballet sequences. The camera work is so fluid and the production design so terrific that it may go unnoticed by many.
Not surprisingly, the scenes getting the most attention are the sex scenes. Long time friends Portman and Kunis engage is a rigorous girl on girl scene that is more in the imagination of the viewer than you may have been lead to believe. In an exceptional series of scenes Matthew Cassell's imperious leader instructs Nina to touch herself in order to get in touch with the seductive character of the Black Swan leading to a scene that begins erotic and grows disturbingly, darkly, comic.
Darren Aronofsky is part of that rare breed of directors with nerves of steel who rarely question their vision even if that vision is wildly out of the norm. Few other filmmakers would have the guts to try what Aronofsky somehow pulls off in “Black Swan,” a blithely over the top melodrama that haughtily demands to be taken seriously. Laugh if you like, Aronofsky and “Black Swan” stand proudly and in the ungodly brilliant performance of Natalie Portman indeed you have something that cannot easily be dismissed.
“Black Swan” is a stunner; a film of extravagant oddity and highly charged passion. A film with a deeply melodramatic heart and yet high minded pretensions. Darren Aronofsky and company walk a daring high wire act to keep all of these elements in play, at odds and ever moving toward a crashing, spectacular crescendo. This is a film that demands and commands your attention.
