Darren Aronofsky's latest offering is for anyone who can appreciate a bit of horror mixed with some pyscho-ballerina drama and a dash of humor mixed in once in a while to keep it from being too taught.
--- Plot spoiler alert! Warning! Don't read beyond this point if you don't want to hear specifics! ----
All sides are falling in around Natalie Portman's character Nina Sayers in this film about a shy, prudish, mother-smothered ballerina who's trying to win the lead role in a stripped down version of Swan Lake and keep her sanity in the process.
Portman is brilliant as the innocent but terrified, bulemic chum in the shark infested ballet company waters filled with female predators circling and conspiring against her. Combined with her own twisted distortions and hallucinations, a nightmarishly obsessive ex-ballerina mother played masterfully by Barbara Hershey and the company director's prodding to find her darker, more sexual side, poor Nina who just wants to be "perfect", can't seem to lose herself in the role as the devious, dangerous Black Swan in the bifurcated Swan Lake story.
Winona Ryder stars as the company's prematurely ousted prima ballerina matriarch and she's apparently not too happy about her early retirement and Nina as the benefactor of her misfortune. The scenes between Portman's Nina and Ryder's Dying Swan Beth are some of the most visceral and disturbing in the film, real or imagined.
The scenes between Nina and Mila Kunis' Lily are the most sexually charged and briefly drug fueled. Cassel's character plays Lily against Nina whispering in her ear, "she's not faking it" and eventually tapping Lily to be the alternate to Nina in the Swan Lake role.
Vincent Cassel stars as the lead dancer/company director and Nina's often inappropriate sexual assailant/personal dance assistant in an attempt to get Nina to find the Black Swan inside of herself after he kisses her and she bites his lip making him bleed. The relationship between Cassel and Portman's characters never wanders much beyond groping and a bit of forced kissing and this relationship seems a bit flat in the overall storyline.
The real sexual tension flares up between Nina and Lily right before the show's opening night and Kunis' character is doing her best to derail Nina with her mother and with alcohol and ecastacy before the first show and almost succeeds. Kunis is gorgeous and her potrayal of Lily works well as the Yin to Nina's straight-edged, straight-jacketed Yang.
Many of the film's mirror scenes where we see Nina looking at herself are painful reminders of the torment and torure going on within her own mind as virtually every part of Nina's world is trying to get her and from our omniscient perspective, appears to be succeeding. She thinks she's turning into the Black Swan when she appears to pull out a small feather sprout from her own shoulder blade and sees herself in many of the people she passes on the street, dressed in black of course, while she appears in white.
Most of the film's early camera shots are jerky with handheld camera work from odd angles so we can get close to Nina but we feel a sense of uneasiness as she feels with the world. The film texture is also really grainy which had my friends and I wondering if there was some intentional grain added or if some of the film was shot on 16 millimeter. Black Swan overall is well acted and directed and there are several spots in the film where you might almost jump out of your chair as this psychological thriller unfolds. I can imagine Natalie Portman getting the nomination for an Academy Award in this psycho-thriller but I'm not sure the film is good enough as a whole to win the award for Best Film of 2010. It's definitely a must see movie for 2010 though. It was well worth the $11 we paid at the Metreon in S.F. to see it.
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