Original release date: December 3rd, prostate 2010
Running time: 108 minutes
Director: Darren Aronofsky
Writers: Mark Heyman, sovaldi sale Andres Heinz, John McLaughlin, Andres Heinz
Composer: Clint Mansell
Cast: Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder
When I was little my mother had a music box with a little ballerina twirling to the music of Swan Lake. As she spun she would glimpse her own reflection in the mirror on the inner lid, and it seemed like there were always two of them. Until one day I dropped it. The ballerina broke in half and the music would no longer play.
Black Swan reminds me of that music box and the way I would lose myself in its world. Natalie Portman plays Nina, a dancer in a New York City ballet company who’s just won the role of the Swan Queen in a new production of Pyotr Tchaikovsky’s Swan Lake. As the role requires her to be both the White Swan and the Black Swan, the shy and repressed Nina struggles to find that darker side of herself.
Thomas (Vincent Cassel), her director, pushes her to try and achieve that level perfection. He’s not alone; Nina’s domineering mother Erica (Barbara Hershey) makes sure her daughter never misses a step. There’s also a beautiful new rival, Lily (Mila Kunis) and the competition between these two dancers is what helps the film reach its inevitable, burning climax.
Aronofsky grew up witnessing first hand his own sister’s tough training as a ballet dancer, so the idea for Black Swan had many years to marinate. It was intended as a companion piece to his previous film The Wrestler (2008), since both films embody the idea of what a performer has to go through to achieve the perfect performance. Aronofsky explains:
At times Black Swan can feel like a David Lynch film with its depiction of Nina’s fractured world. It’s a place where doppelgangers roam freely and we’re never quite sure which side of the mirror we’re on. There are moments when Nina tears at herself as the Black Swan struggles to break out. Other scenes are mesmerizing for the raw sexuality and voyeurism they invite us to, not unlike a Lynch film. The club scene which plays out to the sounds of The Chemical Brothers, although a sharp contrast to Nina’s world, is a brilliant juxtaposition of colours and sounds.
Natalie Portman and Mila Kunis spent ten months preparing for their roles and had to undergo intensive ballet training. They give incredible performances, but it’s Portman who the spotlight is on, the camera never leaves her, and in a way we see her digging for perfection as much as Nina does for her role. Winona Ryder as the fading star Beth, who’s too old to dance, reminds us how short the shelf life is for these performers who give their lives to art in return for those fleeting moments of perfection.
The score by Clint Mansell takes Tchaikovsky’s music from Swan Lake to even greater heights. The pieces are haunted with something darker running alongside it, like Nina.
Black Swan was far more amazing, beautiful, terrifying and intoxicating than I expected. Despite it being Lynchy in some respects, the story is told linear and without too many riddles. It also reminded me a little of Lars von Trier’s Dancer In The Dark (2000) and Kafka’s Metamorphosis, but the stamp of Aronofsky’s hand is firmly on it. Visually and emotionally vibrant and dark at times, it’s a film that’s challenging and absorbing for the way it tells us how a person can become obsessed with their struggle for perfection.
The founder of Static Mass Emporium and one of its Editors in Chief is a composer and music producer with a philosophy degree. Static Mass is where he lives his passion for film and writing about it. A fan of film classics, documentaries and World Cinema, Patrick prefers films with an impeccable way of storytelling that reflect on the human condition.
You can find his music on Soundcloud .