Black Swan ~~~~1/2

I had a sneaky suspicion that ‘Black Swan’ would be a little heavy on the ‘ballet’ element of things but far from it. Since hanging up my ballet slippers nearly thirty years ago and having no interest in a behind the scenes film based in the world of bitchy dancers and sensitive artsy types, this didn’t seem, on the face of it, my ideal type of film. However, I knew that both director Darren Aronofsky and lead actress Natalie Portman wouldn’t, in a million years, dare deliver this to me. And I wasn’t wrong…

The world of ballet is a great backdrop to the story, no more really. It could have been the world of fashion, football or even banking but it is the sensuality, passion and skin on skin action that really makes this tale come alive.

While Portman is a successful, but junior, ballerina, pushing herself to train hard, living a disciplined life, consumed in the world of dance, she aspires to be the new lead in the ballet company’s ‘Swan Lake’ production. Her chance comes soon enough when the lead ballerina ‘retires’, played wonderfully, and quite hammily, by Winona Ryder, allowing the rest of the company to audition, not only for the lead White Swan role but also the dark, brooding Black Swan. Will all her hard work and sacrifices pay off? Of course. But as Nina progresses in her training for the big ‘curtains up’, she discovers that being prima ballerina requires more than just hard, physical work. It requires nerves of steel, a little give and take in the bedroom and an element of ruthlessness. Can she keep it together? Can she keep herself together? I cannot say any more…

Portman is most excellent in the role of Nina, the ballet-obsessed, neurotic, lonely girl destined for greatness, as is the rest of the cast including Mila Kunis as Lily, the mysterious dancer who pushes Nina’s buttons and makes her strive even harder to prove herself. The relationship between these characters is fascinating; do they represent the yin and yang of woman, the two extremes of work ethic and attitude, the complexity of sexuality or something far darker? The latter, I think. As the characters interact with each other more and more throughout the story, it is easy to be left with the distinct impression that Aronofsky wants you to think about who these women are and what they represent. I can say no more for fear of influencing your viewing suffice to say, as with most Aronofsky’s past films, you can go as dark and as deep as you like!

Nina’s home life is equally strange. Her ex-ballerina mother is both pushy and overbearing. Their apartment feels incredibly claustrophobic with more than a hint of secrets and lies hidden within each room. Creepy.

Already touted as the perfect White Swan by the artistic director, played very sensually by Vincent Cassel, Nina continues to work hard, pushing herself to accept that she must get in touch with her darker side if she wants to succeed with the Black Swan role, but there seems to be a price; her sanity. As with all good drama-thrillers, ‘Black Swan’ keeps you guessing; not only about Nina’s sanity and motives but also as to the influence Lily has on her and how the other characters interact with, and seemingly suffocate, her. As the plot unfolds, and as Nina readies herself to take centre stage, everything else seems to begin to fall apart. Is it possible that the violence happening around her is coincidence or is she more responsible for events than even she can contemplate? Nina literally itches and scratches her way to the finale; is she destroying herself?

This film is terrorising, uncomfortable, sexy and moving. It’s truly Aronofsky’s best yet and possibly Portman’s, too. The cinematography is quite amazing as are the visual tricks (which have featured so heavily in the trailers) and music, brought to us by Stourbridge’s finest export, and ex-PWEI front man, Clint Mansell. The costumes are also quite brilliant; from work-a-day ballet gear (which I am sure will be making a huge impact on the fashionistas this spring) to the ‘Swan Lake’ stage costumes.

Throughout both Nina’s journey to stardom and her transformation into the Black Swan character on stage, the costumes gradually move from white to black. The changes are reasonably subtle but are great visual pointers and clues for the audience as to character evolution and change. The climax of the film is truly remarkable with Nina inevitably metamorphosising into the Black Swan on stage. Magic.

This is a film with layer upon layer of emotion. It’s a stunning, haunting exploration of the world in which a woman who, having been so focused on attaining her goal, loses grip on reality.

For me, this is a film about so many things:

Obsession
Power
Sexuality
Perfection
Rivalry
Ritual
Lust
Adulation
Awakening
Paranoia
Loss of innocence
Sexual abuse
Loneliness
Passion
Compulsion

If you feel like challenging your brain and subjecting yourself to something really worth the effort, you have to see this film. It’s beautiful, unexpected, raw and scary. It’s already a definite contender for best film of 2011.

Encore!

Viewed: 26th January 2011