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Tuesday, February 1, 2011

Black Swan (2010)

                                                                                       

Distributed by Fox Searchlight Pictures

Starring: Natalie Portman (Nina Sayers), Mila Kunis (Lily), Vincent Cassel (Thomas Leroy), Winona Ryder (Beth Macintyre)

Duration: 108 Minutes

MPAA Rating: R for strong sexual content, disturbing violent images, language and some drug use 

Directed by Darren Aronofsky




Darren Aronofsky loves to descend into dark psychological depths in order to tell a compelling and bold story about human suffering. Black Swan is Darren Aronofsky at his most accomplished, transcending its simple storyline and becoming an original, living, breathing entity. It is not a film, but an experience. Aronofsky is only further asserting, as he directs more films, that he is one of the most visceral and personal filmmakers of his generation. Some say pretentious, I say emotional.

Black Swan is an exercise in melodramatic storytelling. This can often be obvious and flawed but works exceptionally in the habitat of show business. It is anything but understanding. The disposition of the dancers is aggressively competitive and Thomas Leroy, (Vincent Cassel), the presumptuous operator the New York Ballet Company, frequently exchanged prestigious roles for affairs with his dancers, for which he is notorious among them. Black Swan is not about Ballet any more than Raging Bull (1980) is about boxing or The Social Network (2010) is about Facebook.
Black Swan is a character study about a woman whose determination compels her to resort to desperate measures to garner what she desires; perfection. These measures are justified in the mind of the protagonist, among other things which are fabricated in the mind of the protagonist.


When I first heard about this film, I could not help but think of The Red Shoes (1948), although in the film’s melodramatic nature, this film resembles All About Eve (1950). Winona Ryder resembles Bette Davis’ Margot Channing as she reluctantly relinquishes her standing, she is made redundant by the dedicated Nina (Natalie Portman), who is required to portray both the Black and White Swan for the production of Swan Lake, which for any actress would be demanding. Like all great artists striving for perfection, Thomas’ audaciously tyrannical nature requires only the most talented and committed actress’, Nina is apt to fill this position as she prepares for the role with relentless devotion regardless of the physical pain it entails. Thomas, advises her to become consumed by the dance, she mustn’t be severely disciplined but elusive and seductive, to not only the Prince but the audience.

Nina is not passionate about ballet, nevertheless she dedicates her life to this art form as she is compelled to dance by her mother, to whom she feels she must oblige. Her mother was also a ballet dancer before she gave birth to Nina. Her mother now dedicates her life to Nina’s career and also lives vicariously through her daughter. This pressure is materialized as a rash on her back and Nina’s mental state consequently dilapidates over the course of the film in depiction of exaggerated hallucinations of paranoia.  Often signifying the paranoia of the protagonist. Ultimately the audience is unable to distinguish the reality nor the fantasy contained in this film.

Fellow dancer Lily (Mila Kunis) is apt for the role as Black Swan due to her mysterious and enticing temperament. She soon becomes both friend and rival of Nina, who is the counter personality of Nina, nevertheless she is a separate being. Thomas anticipates that his giving of the most prestigious role to Nina entails an affair, to which Nina responds with unease. She is not sexually experienced and is unable to portray ‘The Black Swan’ due to this. He encourages Nina to discover her previously unexplored personality. Nina resides with her mother in a claustrophobic apartment in which Nina is at the mercy of her mother. The symbolic parallels to Tchaikovsky’s Swan Lake are not coincidental, but tragically ironic.

Aronofsky allows the viewer to immerse himself in his film. He directs with such passion, such clarity, he tells such beautiful engrossing tragedies which emotionally resonate with the audience as few films have in recent years. His films are less about plot than they are about arousing emotion. He tells a simple story with the most remarkable techniques. He doesn’t aim for realism nor does he aim for pretentious pseudo-profundity. He aims for the story to unravel itself as the film progresses and for the emotion to intensify until he reaches a tragic emotionally intense climax. He is a master filmmaker with the gift of storytelling.

Pi (1998) was about a mathematician who searches for a number which may unlock mysteries of the natural world. Requiem for a Dream (2000) was about a group of people whose prospects and ambitions are shattered when they descend into drug addiction. The Wrestler (2008), a film about a wrestler whose ambition destroys all chance of having relationships, and after his career is over realizes that he is void of emotional satisfaction. And now Black Swan (2010), a film about a woman’s uncompromising pursuit of perfection and the psychological damage this entails. 

Aronofsky is now 41 years of age, and has directed five films over a course twelve years, one of which I did not mention (The Fountain (2006)). I have seen three of his five films and I believe that makes me qualified to say that Darren Aronofsky is an amazing auter who has accomplished a certain reputation as an artist. His films are not subtle, but they need not be, as they are effective and powerful.

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