Natalie Portman puts on the performance of her life as Nina, an aspiring dancer thrust into a high-pressure role, in Aronofsky’s latest. What do this prima ballerina, a genius mathematician, a group of addicts, and in his last film, a washed-up professional wrestler, have in common? They are all characters through which filmmaker Darren Aronofsky explores tragic demise.
His latest work, Black Swan, is indulgent—even gory—yet it is also thrilling, visually stunning, and easily among the most memorable films of the year.
Nina (Natalie Portman) is a sheltered dancer with New York’s most prestigious ballet company. When company director Thomas Leroy (Vincent Cassel) appoints her as principal female dancer for the upcoming performance of Swan Lake, she is thrust into an envious and pressure-filled position.
Her promotion comes at the expense of former lead Beth MacIntyre (Winona Ryder), who leaves under suspicious circumstances. Nina is thrilled to have the opportunity, yet soon feels the burden of meeting Leroy’s standard of artistic excellence.
The arrogant Leroy has merged the roles of Swan Queen and Black Swan, both to be played by his star. He is confident that Nina has the grace and delicate beauty of the white Swan Queen, yet hazes her to find the sensuous confidence necessary for the Black Swan.
As pressure on Nina mounts, her relationships and sanity deteriorate. She becomes jealous of a rival dancer (Mila Kunis) who possesses the sensuality that Leroy demands of the Black Swan. Compounding her paranoia, Nina feels smothered by her mother (Barbara Hershey), and fears that she will end up like her former role model MacIntyre. All of these factors drive Nina to the brink as opening day draws near.
Black Swan employs the same filmmaking style Aronofsky honed in Pi, Requiem for a Dream, and last year’s hit The Wrestler. He pushes the envelope of the medium to alter the viewer’s perceptions and create a closer connection to the protagonist. For example, in Pi he employs a camera shake technique with grating sound effects to illustrate the suffering of the character’s migraines.
By choosing the subject of ballet and his star Natalie Portman, Aronofsky moves away from the fringe and can introduce his brand of sensory filmmaking to a much wider audience. But make no mistake—this isn’t Disney, and it’s appropriate for adults only.
As the plot unfolds, it becomes increasingly gratuitous. But instead of pulling back, Aronofsky takes you completely off the deep end with rapid-fire images of sexuality and violence. I thought I was watching The Twilight Zone or The Shining, becoming unsure if I was experiencing Nina’s reality or her hallucinations. This is where the edgy director either alienates or wins over each individual audience member.
For those who play along, the payoff is worthwhile. It runs an ironic parallel to the story of Swan Lake, and juxtaposes the beauty of the ballet with the grotesque imagery of obsession. The use of the iconic Tchaikovsky score, especially at moments of crescendo, is astounding. There is also beautiful cinematography, such as the slow-motion close-up of a ballerina’s footwork.
Despite that the film completely draws you in to its tension, and that the acting is tremendous, I can’t help but wonder if the thriller bears any greater significance. Certainly there are Aronofsky’s usual themes of the impossible pursuit of perfection and exploring that dark aspect of human nature that causes drivers to rubberneck on the highway to see a car wreck. Tragedies are a tried-and-true formula and often make people feel better about their own problems, yet are car wrecks the only worthy protagonists for Aronofsky?
With a few tweaks to the main character’s stage in life, you could almost describe Black Swan as the Wrestler on the ballet stage. At what point does the vulgar and shocking imagery (which, thankfully, has been toned down from Requiem) detract more than it adds?
I’m consistently blown away by Mr. Aronofsky’s craft as a storyteller, and Black Swan is undeniably a must-see for the serious film fan. Yet I’d hope to see a talent as bright as Aronofsky use these skills toward a more constructive accomplishment.
Like Mickey Rourke’s Golden Globe performance in The Wrestler, Aronofsky has created a platform for Portman that will likely earn her the highest of honors this award season. As for the genius director, I think his best is still yet to come.
[etRating value=“ 4”]
