BLACK SWAN (includes trailer and interview)
February 1st 2011 07:27
In Cinemas Now
Black Swan is a strange and seductive creature indeed, marketed as a modern day ballet thriller in the vein of, “All About Eve”. Black Swan is closer to say Jacques Tourneur's Cat People, the 1942 horror film which told the eerie tale of a young bride being overcome by fear of her awakening sexuality. It took two visits to the cinema for me to firmly grasp, both the style and substance, of Black Swan - and it is an extraordinary film indeed. So much could be said about it, but what seems so striking to me, is it's constantly evolving, bristling and evocative style - sometimes derivative, sometimes stunningly original, which threatens to overshadow the smaller subtleties of the film's actual substance.
Writer/Director Darren Aronofsky (Requiem For a Dream, The Wrestler, The Fountain) has created a film, which on the surface appears finely similar to others, yet remains elusively difficult to pin down, one thing is clear - this is evidence of an artist evolving rapidly. Where Aronofsky's first three film's were technically bold and ambitious, he has traded in his original approach of technical perfection, instead for a reckless, thrilling and unpredictable abandon – and as it would happen – this is what Black Swan's main character, Nina Sayers, begins to move toward, herself, through out this film.
Set in modern day New York's icy world of professional ballet, Nina (Natalie Portman – Leon: The Professional, Heat) is an aspiring ballerina, with her heart set on dancing the role of the Swan Queen in a revamped version of Swan Lake, choreographed by the outspoken company director/choreographer, Thomas Leroy (Vincent Cassel – Le Haine, Irreversible, Mesrine). Thomas eyes these ballerina's, weeding out the weak from the strong. He tells Nina she would be perfect to play the White Swan, but she doesn't have what it takes to play the complete dual role of the Black Swan - she is too innocent, too frigid, too fragile. When Nina comes to Thomas's door making a plea for a reconsideration, he throws himself at Nina with an agressive kiss, Nina reciprocates by biting him - this is when Thomas sees a glimpse of darkness in Nina that all of her technical grace could never match, thinking now that maybe Nina has what it takes to play the White and the Black Swan.
Thomas taunts Nina as he prepares her for the role, constantly comparing her to all the other girls who appear wild and care free enough to play the darker and seductive Black Swan. One of the first things that struck me was how everyone around Nina, in the beginning of the film, has a power over her, a sexual power to be precise, whether it be Thomas, Nina's mother (played by Barbara Hershey – Boxcar Bertha, Hannah And Her Sisters) or even fellow Ballerina, Lily, played by Mila Kunis (Family Guy, That 70's Show), a sexy and darkly sensual woman who lures Nina into places she didn't expect to go. In fact everyone around Nina influences her, in one way or another, but if Nina is more fragile than we imagined, what might happen to her when she begins to break.
Natalie Portman and Vincent Cassel in Black Swan
For those of you who had their hearts torn out after seeing Aronofsky's previous film, The Wrestler, Black Swan may seem like a step down, but I'd urge you to see Black Swan again in the hope that some of it's appeared flaws give way to it's sublime subtleties, Black Swan is in it's own way as much a legitimate character piece as The Wrestler was, instead the minimal style that complimented Mickey Rourke's raw, wounded performance has given way to a surreal, horror piece, bathed in style, cloaked in erotic tones. Black Swan is shot in hand held 16 mm film, to stunning results, while the film tips it's hat to previous psychological horror maestro's like Roman Polanski, Brian Depalma and of course Dario Argento, Black Swan's use of 16 mm mixed with sly CGI effects seem entirely fresh. All the performances are spot on and the only small criticism I can find with the film is some small moments come across as perhaps unintentionally funny or awkward, but that's a small observation to make when observing a unique creature such as this.
Black Swan explores a fragile psyche on the verge of constantly shattering and the work that Portman did for this role is evident, Aronofsky films Nina's foot pirouetting, excrutiatingly in slow motion, like a piece of wooden machinery that is about to crack. Portman certainly deserves any accolades she recieves for the film as she walks a fine line through out the film, not to mention her technical ballet work, which even if there were stand in's at a certain point, it may not even occur to us. Vincent Cassel is perfect as always and is a huge credit to the film, as he is an actor that is always amazing to watch. The sublime and cheeky use of CGI is put to good purpose as Nina gets a glimpse reflections which betray her movements, like a part of her being taken over.
Aronofsky takes only the directing credit this time round, as the screenplay is credited to three other writers Mark Heyman, Andres Heinz and John McLaughlin. Aronofsky reteams with cinematographer Matthew Libatique (Requiem for A Dream, Pi) who shoots the film impressively with 16 mm film, using all of the film stock's rougher qualities and softer focus to play against the velvety lighting. Aronofsky continues his collaboration with outstanding composer, former P.W.E.I. frontman Clint Mansell, who creates a subtle yet omnipresent score by simply tweaking some of the existing pieces of Swan Lake. The real highlight of the film is the sound design which brings in the surreal and horror elements perfectly, it all ammounts to something to be reckoned with, as the sound design compliments some of the most effective scenes conceived, which simply set out to make your skin crawl!
Then of course, there is a certain sex scene in the film which caused lots of talk, where in a lesser film, would have been used purely for titillation, this scene which seemed to be hot on everyones tongue, certainly was exploited for marketing the film, but I should add that it also happens to contain one of the most fascinating uses of blurring reality and dream, ie. what may have or may not have happened, that I have ever seen, and it's implications potentially become as disturbing as your imagination will take you. The eroticism of Black Swan was initially something I saw as a flaw in the film the first time I saw it, but upon my second viewing these scenes played far more organically than I'd remembered.
Black Swan is a gorgeously made horror film that verges on perfection, it's definitely worth a second viewing, as I was amazed at how much I got out of the film a second time, I not only enjoyed it more the second time, but there were moments that I reinterpreted entirely, as well as scenes and characters which seemed far richer than on my first viewing. Black Swan is an agressive, focused and beautifully made film which explores all the unexpected contradictions, brittleness, paranoia and madness, of the world it enters into.
HERE'S THE TRAILER FOR BLACK SWAN
AN INTERVIEW WITH VINCENT CASSEL
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Comment by David O'Connell
Screen Fanatic
Aronofsky has really got a great bunch of collaborators he can rely on to add real class to his productions. It horrifies me a little that he might be doing a Wolverine film next though! Seems like one of the more bizarre director/project associations I can remember.
Comment by Matt Shea
20/20 Filmsight
Comment by Bryn
Horrorphile
I can't wait to see this a second time (which will be sooner than later) ...
It's my current favourite movie, and I know it will surely creep into my all-time list, as it appeals on so many levels.
Comment by JohnDoe
Film & TV on DVD
I was blown away by the sheer energy of Black Swan and the conflicting naturalism of performance that conflicts with the grandiose, operatic melodrama.
Plan on reviewing this myself shortly so wont say anymore.
Comment by Jason King
Sydney Table
Salty Popcorn
Total Randomness
Comment by Tracy
Movies and Life