Review by Spencer Gordon
Photo provided by Black Swan
Black Swan
Directed by Darren Aronofsky
Starring Natalie Portman, Mila Kunis, Vincent Cassel, and Barbara Hershey
Rated R for strong sexual content, disturbing violent images, language, and some drug use
Acclaimed director Darren Aronofsky (The Wrestler, The Fountain) has stemmed his success off of creating character studies of unique characters. In his last film The Wrestler, Aronofsky studied the life of a wrestler beat up not only in the ring but also in life. Now, with Aronofsky’s latest effort, Black Swan, the director pulls off the classic filmmaking technique of retelling an old story in a new and compelling way, in this case, the famous ballet Swan Lake.
The ballet has been re-imagined numerous times, mostly in the dance world and children’s animation, but Aronofsky decided to take the classic tale and not only modernize it, but make the story dark, intense, mysterious, and gritty. Despite some predictability and a distracting performance from Barbara Hershey, Aronofsky brings us a compelling tale that not only shows off his talents, but Natalie Portman’s as well.
Black Swan follows the story of Nina (Portman). At first she is the very petite stereotypical ballerina who works hard, still lives with her mom (Hershey), and really wants the lead role in her company’s next production, which just happens to be a re-imagining of Swan Lake. The company’s director Thomas (Cassel) tells Nina that she could pull off the White Swan character without a sweat, but she lacks the understanding of the role’s other part, the Black Swan. Nina manages to get the role anyway, but a rival dancer Lily (Kunis) comes into the picture and it becomes apparent that not only does Thomas see the Black Swan in Lily, but Nina begins to see the new dancer as her own personal Black Swan as Lily becomes a dark influence on Nina. As the film progresses, Lily feeds the dark counter personality that Nina begins to lose more and more control over.
I love seeing films during this part of the year. Studios release their best overall films, true works of art, and most of the time bring a unique factor to the table for Oscar voters. Black Swan will be nominated for numerous Oscars that is for sure, but as for actually taking home the prize, look for Portman and cinematographer Matthew Libatique to come home with the gold.
I know it may seem that I always like to critique the acting in films, but acting to me is the most important part of filmmaking along with writing and directing. The performances by actors are what allow and audience to relate to the characters and enhance their experience watching the film, and let me say that Portman shines as our White Swan. Her character is devoted and passionate and most importantly, fragile. She has her breaking point and when the pressure gets stronger and stronger as she prepares for her performance, she begins to lose it mentally. Her character is psychologically broken and her performance makes the terror and intensity of the story look real. She and James Franco from 127 Hours are my picks for the Oscar this year so far and by large margins.
Libatique’s work in this film has been the best I’ve seen all year. Although I know Aronofsky came in and wanted some shots of his own (such as his signature close-ups of the back of the head as we follow our character walking), Libatique’s unique angle and tracking work with the camera created beauty, while at the same time enhancing the darkness of the film. His ballet performance cinematography is the best to note. His dolly shots travel around and close to the performers in one swoop, almost as if his cinematography is synchronized with the dancing. From the first scene of the film, it makes the audience feel like we are a part of the dance.
So see Black Swan instead of the very ordinary Mao’s Last Dancer if you want a truly good ballet film. If, however, my review didn’t persuade you, let me finish by saying that this movie finally washes out the bad taste left in our mouths from Portman’s performance in Star Wars: Attack Of The Clones.
Grade: A- for a dark and intense thriller that takes a new look at a classic tale, while at the same time embracing its same virtues and stories with great cinematography and acting.
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