Black Swan

I was very lucky to snag tickets to see Black Swan at the the Toronto International Film Festival.

THE GOOD: Natalie Portman's acting was perfection - definitely an Oscar worthy performance. Mila Kunis's performance was surprising in a good way, it is clear that she stepped out of her comfort zone. The film's musical score was superb. Of course, much of it was taken from 'Swan Lake', but I loved that they were able to incorporate that music throughout the entire film and not just in the ballet scenes. Of course, it was beautifully shot and the plot was riveting - I was drawn in from beginning to end. The audience saw a new side of ballet/ theatre that is not often shown in popular films - the struggle the performer faces in committing to and perfecting a role. The struggle between 'good' vs. 'evil' was presented in a methodical and intriguing way.

THE BAD: Many parts of this film felt like it belonged in the horror Genre. Some parts definitely made me jump or cringe (which I was not expecting). The film was also an emotional roller-coaster, which was fine at first, but This 'emotional roller-coaster' sort of dragged on to the point that it almost felt like it was too much. I just feel that it could have been tuned down a notch.

Overall, I thought that most of the film was wonderful, and I highly recommend it.

This is one of those films best seen only once. It hones in on the fragility of an artist and lays open wounds that are hard to witness. Natalie Portman's character is driven but vulnerable and s set up to succumb to her art. Of course, rivalry is a given, and her rival does everything she can to put the screws to her. Unfortunately, the questioning of her own talent is going to show at some point. I can't say I enjoyed this movie. I realize that obsession is often a strength with artists, but it can also be all consuming. This film is about as dark as it can be but it puts a stranglehold on the viewers.

Remembered hype for this film when it was out in cinema back in 2011 but never viewed, would've been around 13 years old at the time. Completely forgot about film but stumbled on it on Netflix recently in 2023.

In my opinion this film is best viewed as a sort of dark fairy tale similar to Argento's Suspiria. As a psychological drama it is somewhat unsettling but not nearly as unsettling or downright unpleasant as psychological dramas like The Machinist or the Piano Teacher.

A lot of the critical reviews on this site of this film criticize the one dimensional characters of this film which is understandable. But when the very first scene after the opening credits is a dream sequence with the main character dancing with a man in a goblin costume, that should tip the viewer off that this film has strong dark fantasy elements thus having archetypal or rather one dimensional characters is not out of place.

I can see why I had not heard of this film since then because it is not very deep or something you ponder after viewing. But all in all I give 8/10.

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I had the opportunity to see Black Swan in one of the 18 theaters that it opened up on this weekend, although I generally do not do so, I was compelled to write a review of the film.

From top to bottom, this film is at the height of what it means to be true art in cinema. The various elements of the film, the mise-en-scene, was so incredibly structured by filmmaker Darren Aronofsky that one need only sit back and admire at the fluidity of his camera movement, or the marvelous hue of colors amidst a film which has it's color scheme largely dedicated to the symbolism of black and white.

The performances where spot on, Vincent Cassel was terrific as the suspicious teacher, whose brilliance and lust for the dancers in his show are both quite reputable, one often beating out the other. And Mila Kunis truly shines in this one, bringing out a side of her many probably didn't know was possible. She is absolutely beautiful and aptly portrays the black contradiction to Natalie Portmans white, a terrific contrast of good and evil. Kunis, however, as many may assume, is not meant to be there to spark a general conflict of good vs evil, but to emphasize the side of Portman that we have not yet seen. A side that will drive her to the brink of insanity to obtain.

And therein lies the true theme of the film, obsession and physical strain over all else. Much like "The Wrestler" we have the main character dedicated to an unappreciated form of physical art. Here, it is Portman's obsession with becoming the lead of the ballet Swan Lake which drives her into madness. You enter her mind as her teacher pushes her to become perfect, pushing her to let go of her fragile White Swan and become the loose and destructive Black Swan. As you follow her through the stages of her audition leading towards a booming finale she becomes less and less aware of what around her is distortion and what is reality. As she loses grip, Aronofsky's ability to depict psychological deterioration shines through.

And make no mistake, this film belongs to Aronofsky and Portman. As stated, Aronofsky captures everything beautifully in frame, his movement of the camera is almost as fluent and beautiful as the very dancers on the screen. His use of behind the head vantage shots has been a bit of a trademark of his, allowing as to see what the character is. And his use of lighting is nothing short of extraordinary. But now comes the true star: Natalie Portman. She blew me away, from start to finish, she displayed her transformation for the sweet girl to the physically and psychologically obsessed, all the way through attempting to embody the white and black swan when necessary, literally trying to become them in her mind, driving her towards insanity in the pursuit of perfection. Words cannot describe Portman's performance here, to say it is Oscar worthy would be a vast understatement, as the depth of her character goes so deep it would nearly be worthy of playing two separate roles. So fragile at time that you fear for her life, and so corrupted at others that you hate her. Acting at it's finest, Portman deserves an Oscar.

All things considered the film is nearly perfect, one of the best dramas I've ever seen, and one that is as iconic and intense as it is horrifying at times. Just to mention a few other things, Winona Ryder, in the small amount of screen time she had, was spectacular, and truly terrifying during particular scenes. And as always, when Aronofsky and Clint Mansell team up, the score is both epic and eerie, somehow simultaneously. The overcasting score of a distorted and intense version of Swan Lake itself brilliantly compliments the atmosphere throughout the film as these two artist have done before. It could nearly work as a silent film, that's how brilliant it is. If you get the opportunity once this film undoubtedly expands to other theaters see it, it's harrowing and at times difficult to watch, but that combination of beauty and horror makes it impossible to turn away.

Darren Aronofsky is a filmmaker who, over the course of five films, has thoroughly explored the various ways in which people can be consumed when their passions become self-destructive obsessions. It seems to be a bit of an obsession in and of itself for Aronofsky, and frankly, I've been with him every step of the way. The best cinema is the kind that makes you feel something, which Aronofsky's work does in spades. Taking up residence in the darkest recesses of the human psyche is no picnic.

Nina Sayers has toiled for years and years in Thomas Leroy's New York ballet company. Having fallen on hard times, Leroy exiles his lead dancer and hopes that a fresh face in the company's upcoming version of "Swan Lake" will renew interest and revenue. Nina believes that she has what it takes to tackle the role of Swan Queen, and while Thomas chooses her for the part, he is adamant about her being able to nail both the pure innocence of the White Swan and the dark, sultry essence of the Black Swan. He doesn't feel that she is yet capable of pulling off the latter, but he suspects that she has the ability bottled up inside. Nina, ever the perfectionist, just needs to let herself go and perhaps explore her sexuality. Unfortunately, she's had to deal with an overbearing mother who has sheltered her to the point of psychological damage. Experiencing what she needs to in order to embody the Black Swan, combined with the pressure of the role and the paranoia over new girl, Lily, possibly being after her spot, may just push Nina over the edge.

"Black Swan" has been cited as a companion piece to "The Wrestler", and in many ways, it is. They even share similar instances of a pseudo-documentary shooting style. However, whereas the latter utilized such a style to create a heightened sense of realism, "Black Swan" takes the approach and creates a claustrophobic hell akin to something like Polanski's "The Tenant". It's a disorienting portrait of the madness that infects many who possess the desire to create art. Nina's sanity is in question early on, and from there, we are kept on our toes in relation to what is hallucinated and what is real. Speaking of being kept on one's toes, we get an up close look at how hard ballet is on the human body. As if the psychological turmoil wasn't enough for poor Nina, the physical toll is just as prominent.

As the ballerina seeking the pinnacle of perfection, Natalie Portman achieves that which her character so desperately desires. Her performance is a milestone, not only in her career, but in acting, period. Every ounce of praise directed toward her is richly deserved. Nina goes through a ringer of emotional changes, be it the sweet, delicate girl she starts out as, the rebellious grown-up Lily unleashes in her or the manic frenzy she's reduced to when things really get out of hand. Portman never misses a beat. When I first heard that Mila Kunis had been cast as Lily, I wasn't exactly thrilled. I'm happy to say that I was wrong about her, as she is terrific here. She made me forget all about her role on "That 70's Show". Vincent Cassel is also fantastic as Thomas Leroy, and his relationship with Nina is one of the film's strongest aspects. He had serious doubts about her, but he believed in her all the same. Enough so that he put his doubts aside and took the biggest possible risk on her. Barbara Hershey is unnerving as Nina's overprotective mother, and Winona Ryder makes the most of her brief role as Beth, the aging star whom Nina replaces.

Matthew Libatique's cinematography is beautifully realized. Combining the raw grittiness of the pseudo-documentary material with the nightmarish imagery of Nina's hallucinations and the elegance of the ballet, the film is a joy to behold. Clint Mansell's music, complete with elements from "Swan Lake", is also amazing, just as much a character as any breathing person on screen. I was disappointed that Mansell didn't have more of a presence in "The Wrestler", so I was happy to have him back in full force with "Black Swan".

Aronofsky is my favorite director to come along in the last 20 years or so. "Pi" was a solid debut, "Requiem for a Dream" is an utter masterpiece (still my favorite film in general), "The Fountain" is an underrated gem and "The Wrestler" is a strong character study. I'm pleased, but not surprised, to say that "Black Swan" is another film that further solidifies his position as a master filmmaker. As for Portman, she doesn't need the "Best Actress" Oscar to solidify how great she is. Besides, after Sandra Bullock "won" last year, they'll obviously give that award to anybody.