Black Swan
Case en pointe
Even if you don’t realise it, you probably know the iconic line of music that epitomises Tchaikovsky’s Swan Lake. In Black Swan, a film intriguingly based on and around the ballet, its notes are never far away. Subtly sounding throughout, it is just one of the elements of the original ballet updated, yet continually referenced.
For those unfamiliar with the plot of Swan Lake, Vincent Cassel as the ballet’s director explains it early in the film. The dynamics of the film’s characters quickly become apparent; Natalie Portman as Nina, the young, frigid, perfectionist ballerina, Cassel the impetuous and demanding director. The parallels of Aronofsky’s film to Tchaikovsky’s story appear more slowly, being revealed as Nina’s life spins out of control.
Although ostensibly about the New York Ballet and the competition between Nina and Mila Kunis’ Lily to play the lead, it is abundantly clear that this is no girly dance movie. Described as a ‘psychological thriller’, the camerawork and music serve to create huge tension. Often viewed from behind the main protagonist, the audience feels almost as equally disturbed as Nina appears. Portman’s performance is particularly impressive, not only for the dancing she demonstrates, but for her portrayal of Nina as innocent and vulnerable, while at the same time hugely disturbed. Her neurotic character is obsessed with perfection and driven mad by a fear of failure instilled by a lifetime's worth of motherly smothering and career jealousy. Portman's Nina treads a thin line, being sympathetic though not particularly likeable.
While there is an evident plotline of rivalry, as in the ballet itself, this seems of secondary importance to the doppelganger motif throughout. A feature of classic cinema, usually a sinister one, the doubling effect present in Black Swan is used to express Nina's self-doubt and paranoia. The intensive use of mirrors and reflected images, as well as the physical similarities between Portman and Kunis underline the basic top level story to tell the much more harrowing tale of Nina’s own transformation.
The dark nature of the film seems to extend from Aronofsky’s earlier work, particularly Requiem For A Dream; however, the most chilling element to Black Swan is not a harsh social commentary, but rather the inexplicable, almost supernatural occurrences jumping into and out from Nina's troubled mind.
Musically, there are strong parallels with Reqiuem as well, which was also scored (like all of Aronofsky's films) by Clint Mansell. His superb incidental soundtrack repeats the famous Swan Lake theme throughout, building from the tinklings of a bedroom music box to piano rehearsal and finally a final, full orchestra crescendo. Peter Bradshaw notes, "Motörhead could not have played the Swan Lake theme any louder than this". It certainly makes for moving stuff.
The huge hype about the film, given the stars, director and costumes by fashion house Rodarte, mean this film could give false expectations and leave some disappointed. To go expecting only ballet is certainly a mistake. The dance itself is of much lesser importance than the psyche of those involved. Expect instead to be tossed about, not empathising, nor perhaps fully understanding until the finale of the ballet and the film itself.
Black Swan is out now, on general release
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Guest: seen-itMon 24 - Jan - 2011, 17:52Not a great movie, I personally found it sickening. There are almost no scenes in a daylight, the whole film is dark with totally unclear ending.
