Black Swan Review

At first, I just assumed that Black Swan was going to be defined by the fact that it contains a sex scene with Natalie Portman and Mila Kunis. We all know a few of those movies that are known for just that one scene. For example, I have absolutely zero recollection of the plot of Wild Things (and until this moment, I didn’t know there’s not one but two sequels!) but like millions of other men across the planet, I know that Denise Richards and Neve Campbell make out in it. In a pool or something. And that guy that’s the brother of Johnny Drama is in it somewhere too.

One would assume that with all the hype surrounding the scene with Natalie Portman and Mila Kunis, Black Swan was simply one of those movies but unlike how Wild Things is forgotten at the bottom of a bin somewhere at Wal-Mart, Black Swan is receiving quite a bit of buzz and five Academy Award nominations. And rightfully so as Darren Aronofsky’s film is one of the creepiest, weirdest and most interesting films I’ve seen in quite some time. The background of Black Swan is sort of a story we’ve all see before. The backstage drama, the rival dancers that are almost polar opposites, the sordid affairs…it’s something that’s been done as many times as the actual Swan Lake but just as every performance of Swan Lake differs in the telling and the nuance, Black Swan still seems fresh and modern.

A New York ballet company is opening a new season and quickly after ditching their aging star dancer (Winona Ryder), they’re looking for a new swan queen. Nina (Natalie Portman) seems to be the front runner but the role of the swan queen requires technique and innocence as well as passion and seduction since the white swan Odette and the black swan Odile are played by the same ballerina. The director, Thomas (Vincent Cassel…who I remember as the French guy from the bad Ocean’s movies and in Eastern Promises), claims that Nina is perfect for the white swan as she has great talent and near flawless technique but doesn’t thinks she has what it takes the be the black swan. She’s too controlled, too disciplined…striving for absolute perfection.

I can see the logic behind what he’s saying. I see it on So You Think You Can Dance every year…it’s not about the steps or the choreography, the best performances are when the dancer just dances. Opposite Portman is Mila Kunis, who plays Lily, a new dancer to the company. Adventurous, daring and slightly vulgar, Lily is pretty much what Nina is not and Thomas quickly sees her as a candidate for swan queen. The stark contrast between the two dancers is one of the similarities between Black Swan and the ballet they’re trying to portray in the movie. If it makes any sense, this is a Swan Lake movie about Swan Lake.

Black Swan isn’t a horror film at all but some of the imagery and the psychological overtones will be disturbing to most. It’s a movie about dance but the focus is squarely on Nina. As we move through the 107 minutes of the film, we slowly delve further into her psyche and watch as she is quickly losing her sanity. Darren Aronofsky works magic to bring this downward spiral to life, using subtle pops, echos and strange Doppler effect-like sounds and quick, cutting images that make the audience wonder if we can believe what we actually saw or if we are being pulled a little bit into Nina’s web of delusions. Whoever did the sound for Black Swan should be commended. The last couple scenes, full of airy swoops, waves and smoldering breathlessness are exhilarating.

Fictional director Thomas also mirrors some of Aronofsky’s own intentions when he states he wants to strip Swan Lake down, make it raw and visceral. Swan Lake is filmed with shaky handheld cameras, often from angles and with the style we expect from documentaries. The camera work during the dance scenes is particularly impressive…almost as if the camera was dancing itself. The film itself is very minimalistic in presentation, letting the viewer draw it out in their minds rather than seeing it with their eyes. That isn’t to say the film isn’t visually stunning and beautiful but maybe not in the way one expects when it comes to ballet. Personally, I think one of the best examples of this beauty is in…the credits! Seriously. It closes the movie perfectly as the crowd noise is easily audible…then echos…and distorts eerily…and fades as white feathers (and a single black one) emerge along with the names of Aronofsky and other people that worked on the film well before the quiet piano number trickles in. It’s simple and haunting. That short 30 seconds sums up the descent into insanity of Black Swan.

What can I say of Natalie Portman’s performance here that hasn’t been said? She is nothing short of brilliant. She embodies her role like I’ve never seen her before. I never had to be convinced that I was watching Nina Sayers and not Natalie Portman. Her dancing probably isn’t flawless as a dancer but as an actress playing a dancer, she is flawless. I haven’t seen any of the other movies where the actress is nominated…and probably won’t by next week…but Portman is definitely worthy.

There are a number of shock and scares but don’t let that deter you from seeing this film. It’s a fascinating, visually surreal, and incredibly interesting film but Black Swan, I can’t say it reaches the upper echelon of movies that I would want on my desert island. I don’t think I had any particular emotional reaction to it and while it is memorable, I don’t think it makes any of my favorites lists. I like Black Swan but I don’t think I love it…not for any flaw in the film itself. Perhaps the best way I can explain is…I was gripped by the film, I thoroughly enjoyed watching it…but I don’t think I’d be all that excited to watch it again.

Verdict: 8.0 out of 10

in Entertainment