Review: Black Swan (Aronofsky, 2010)
December 11th 2010 14:51
Black Swan
Written December 11, 2010
Darren Aronofsky’s Black Swan is a dedicated and obsessive piece of filmmaking. In this way, it parallels Aronofsky main character Nina Sears (played exquisitely by Natalie Portman). The film unfurls the tale of a young dancer in the NY Ballet whom has been dedicated her days and nights to her craft in hopes her big break will come. It does, when she replaces aging star Beth Macintyre (Winona Ryder) and earns the role as the Swan Queen in the ballet’s production of Swan Lake.
The director of the company, Thomas (Vincent Cassel), repeatedly tells Nina her portrayal of the Black Swan character needs work. He attacks her lack of passion and even questions if she is a virgin. Nina is fragile, muted, and almost always appears on the verge of tears. Her self-consciousness is exuded in nearly every scene. Nina’s relationship with her mother (Barbara Hershey) on the surface seems caring and happy but the cracks soon reveal themselves in forms of obsession and jealousy. Amidst this, Nina also feels her status in the company to be threatened given the arrival of new dancer Lily (Mila Kunis). Lily expresses her confidence and sexuality with every movement; Nina looks at her as if she’s a puzzle.
The rest of the film’s content is not to be summarized, as it would cheapen the viewing experience. Although its core is psychological in nature, Black Swan is meant to be consumed rather analyzed with a fine toothcomb. The psyche, after all, is a surreal mass of matter.
Instead, what must be highlighted is Aronofsky’s filmmaking. The mise-en-scène is incredibly meticulous with not one shot out of place, not one item existing out of frivolousness. Everything you are watching has a reason and a meaning. As each scene unfolds, you are actively aware of each set piece, aesthetic detail, and costume choices.
Nina is always wearing white; her rivals don black signifying the Black Swan – something threatening, forbidden; something she cannot let herself be or attain. When Nina lays in bed, her sheets are swirls of black and white, yet the colors fail to mix. In the background, a stuffed black swan sits amongst a collage of other dolls. Thomas’s apartment consists of a black and white motif. In Nina’s dressing room, just beyond her head is a picture of the evil prince from the ballet, again signifying threat and highlighting melodrama, which Aronofsky always assures is present.
It isn’t until Nina goes out with Lily, defying her mother, that she wears black for the first time. Significantly, she drapes a black tank top (given to her by her rival) over her current white shirt. This one action begins Nina’s decent and in nearly every subsequent scene, she’s wearing at least one piece of black clothing. Aronofsky forces you to be aware of these things, whether you want to or not. He is overt and unapologetic in his decision-making.
Portman’s performance is astounding. It’s one of fragile intensity and she gives it everything she has. She’s never been better. Aronofsky sets the tone of the film right from the start, with a dream sequence, and refuses to back down. Clearly aware of the melodrama perpetrated onscreen, the director is unabashed in its portrayal. Aronofsky uses held camera technique in particular sequences which create a chilling and self-aware atmosphere in addition to heightened paranoia and fear from both the protagonist and the viewers. Black Swan is an experience, not merely a casual viewing. It takes you on a ride and you can’t help but gasp, flinch, and sit entranced until its last frame -- which itself is a remarkable sight. This is very possibly the best film you’ll see all year.
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Comment by Jason King
Sydney Table
Salty Popcorn
Total Randomness
Here is my review if you want a read:
Salty's Review
Comment by cinemaistruth
Cinema is Truth
Cinema is Truth