Portman tackles a dark role in ‘Black Swan’
Director Darren Aronofksy is known for making movies that can be
uncomfortable to watch
– whether it be his filming technique or the content on the
screen – and his films often require some thought to figure out
exactly what it all means.
His first feature film,
”
Pi
”
was shot in black and white, about a genius mathematician who
has discovers the key to existence
– something others plot to keep from getting out. Aronofsky’s
second feature,
”
Requiem for a Dream,
”
used some choppy edits and filming to portray the feeling of
being on drugs that the characters in the movie were experiencing.
The film received an NC-17 for an explicit sexual scene and it
remains one of the most disturbing scenes I’ve ever seen on film.
The content of the film and the choppy way it looked served the
purpose of driving home the desperation of addicts who need their
next fix.
Portman tackles a dark role in ‘Black Swan’
Director Darren Aronofksy is known for making movies that can be uncomfortable to watch – whether it be his filming technique or the content on the screen – and his films often require some thought to figure out exactly what it all means.
His first feature film, “Pi” was shot in black and white, about a genius mathematician who has discovers the key to existence – something others plot to keep from getting out. Aronofsky’s second feature, “Requiem for a Dream,” used some choppy edits and filming to portray the feeling of being on drugs that the characters in the movie were experiencing. The film received an NC-17 for an explicit sexual scene and it remains one of the most disturbing scenes I’ve ever seen on film. The content of the film and the choppy way it looked served the purpose of driving home the desperation of addicts who need their next fix.
“Black Swan” has the same sort of feel of “Requiem for a Dream.” There are moments that are uncomfortable to watch and tense, but the movie lacks the same clear purpose that Aronofsky had with “Requiem.”
Natalie Portman helms the film as Nina Sayers, a meek ballet dancer whose technique is perfect, but whose passion is lacking. Portman transformed her body into that of a ballet dancer with a strict diet and hours of ballet workouts each day. The result is that she has the same taut, lean body of a dancer and she portrays the kind of neurosis that come with living in a strict, competitive world. Portman reportedly did all her own dancing in the film, except for some close-ups of the point footwork.
For those who know the story of “Swan Lake” – I only knew the very basics, which are explained early in the movie – the connections between the characters in the ballet and the movie may be much clearer. For those who haven’t, each character in Aronofsky’s film coincides with a character from the ballet.
As the new season begins, Nina is hoping that Thomas Leroy (Vincent Cassel,) the ballet director and a choreographer, will feature her more. Beth Macintyre (Winona Ryder) is a veteran performer who is set to retire at the end of the season. Nina feels bad that Beth is leaving – it’s clear she doesn’t really have a choice – but it also opens up opportunities for Nina to take on bigger roles such as the Swan Queen in “Swan Lake.” But Thomas has different plans for his interpretation. He wants the same dancer to dance the role of the white swan (the Swan Queen) and the black swan. He can see the white swan in Nina, who has perfect technique and who looks fragile. But he can’t see the seductress she will need to be to play the black swan.
But when Thomas sees a glimpse offstage of what he wants to see onstage, he offers Nina the double part. As Nina continues to practice both roles, Aronofsky gets on with what he does best. Nina seems to be having something of a breakdown.
Nina lives with her mother and they at first seem to have a good relationship. But little by little, Erica Sayers (Barbara Hershey) starts to become more overbearing to her adult daughter, to the point where Nina starts to snap back. Her issues with her mother are complicated by her relationship with Lily (Mila Kunis.) Lily is new to the company, straight from San Francisco, and she has the passion that Thomas wants to see in Nina, though her technique is lacking. Lily is friendly with Nina and seems to want to be friends, but Nina becomes convinced Lily is just trying to steal the role of the white and black swan from her.
In true Aronofsky fashion, Nina doesn’t know what is real and what is not real, and neither do the viewers. The movie has its disturbing moments, most of which are small things unlike the scene from “Requiem for a Dream.” There are close-ups on Portman’s feet after she damages a toenail or a bleeding rash on her back, which are cringe-inducing.
Throughout the movie, Thomas tells Nina she needs to let herself go, that she needs to lose control. By the end of the film, she has done just that – to the point that she can no longer tell what is really happening around her. I am still not sure exactly what the ending of the film meant, or what viewers were supposed to thing of Nina’s breakdown. The movie is worth a view by fans of Aronofsky, but others may just feel lost.
