"Black Swan" Film Review
A cat fight in leotards (Now on DVD)
3 Stars
As featured in: The Ithacan
Director Darren Aronofsky finds comfort in telling cautionary tales. “Black Swan,” Aronofsky’s first film since “The Wrestler” won him widespread praise two years ago is his most foreboding yet. The film takes place in the ultra—competitive world of New York City ballet where constant pressure takes its toll on the nimble performers. Nina Sayers, played by Natalie Portman in an Oscar worthy turn, is an extreme example of what that pressure can do. Sayers is an eager yet self-deprecating talent who wilts when given the chance to become the lead performer in a modern retelling of Swan Lake.
A film is only as good as the sum of its parts and “Black Swan” is built from quality ingredients. The screenplay by Mark Heyman and Andres Heinz covers many topics ranging from self—worth to addiction and weaves them together quite well. Best categorized as a psychological thriller “Black Swan” forces the audience to continually second—guess themselves up until the mind numbing finish. However colorful characters such as a cameo by Winona Ryder are all too brief. The script leans a bit too heavily on Portman and it makes the story a bit one—dimensional at times.
Portman’s performance as Sayers is sure to attain legendary status years from now. She trained for nearly a year to get in shape for the demanding dance sequences in “Black Swan.” She is so immersed in the role that the audience feels every crack in her psyche. Sayers transformation from the white swan to the titular black swan is amazing. Much like a child in the beginning of the movie by the end Sayers loses all of her innocence in frightening fashion.
Film editor Andrew Weisblum is off his game because he fails to establish a consistent pace for the film. The editing style is inundated with fast cuts in—between stylistic shots. While a ballerina needs to be graceful the edits in “Black Swan” are wobbly and rhythm free. The audience isn’t given a moment to catch their collective breathes and reflect on what’s happening. Without Portman’s strong presence the film would’ve fallen apart. Luckily the audience isn’t left in a daze by Weisblum’s undisciplined approach.
Consistency is director Aronofsky’s strong suit and “Black Swan” includes a lot of similar stylistic trends of his previous movies. Matthew Libatique’s cinematography is glamorous and murky all at once. The shots are framed with particular emphasis on Portman. Each en pointe move shoots pain down the audience’s necks and every grimace on Portman’s strained face is highlighted excellently. The lighting really sets the tone for the darkness that succumbs Sayers by changing from bright and hopeful to cold and desolate.
Though they don’t get the screen—time they deserve, two performances are particularly noteworthy. French actor Vincent Cassel is a dirt—bag as Thomas Leroy the Swan Lake ballet director. Cassel’s cold stare is enough to make anyone shudder. Barbara Hershey plays the role of Nina’s mother Erica. Her contempt for Nina’s talent disrupts the already fragile relationship between them.
While Aronofsky’s latest feature isn’t a classic it’s certainly one of the years best films. “Black Swan” has some chinks in its armor, notably the haphazard editing and confusing plot lines. But Portman’s near perfect acting is the cherry on top of an already delicious movie.
“Black Swan” was written by Mark Heyman and Andres Heinz and directed by Darren Aronofsky.
Watch the delightfully dark and sexy trailer below:
3 Stars
As featured in: The Ithacan
Director Darren Aronofsky finds comfort in telling cautionary tales. “Black Swan,” Aronofsky’s first film since “The Wrestler” won him widespread praise two years ago is his most foreboding yet. The film takes place in the ultra—competitive world of New York City ballet where constant pressure takes its toll on the nimble performers. Nina Sayers, played by Natalie Portman in an Oscar worthy turn, is an extreme example of what that pressure can do. Sayers is an eager yet self-deprecating talent who wilts when given the chance to become the lead performer in a modern retelling of Swan Lake.
A film is only as good as the sum of its parts and “Black Swan” is built from quality ingredients. The screenplay by Mark Heyman and Andres Heinz covers many topics ranging from self—worth to addiction and weaves them together quite well. Best categorized as a psychological thriller “Black Swan” forces the audience to continually second—guess themselves up until the mind numbing finish. However colorful characters such as a cameo by Winona Ryder are all too brief. The script leans a bit too heavily on Portman and it makes the story a bit one—dimensional at times.
Portman’s performance as Sayers is sure to attain legendary status years from now. She trained for nearly a year to get in shape for the demanding dance sequences in “Black Swan.” She is so immersed in the role that the audience feels every crack in her psyche. Sayers transformation from the white swan to the titular black swan is amazing. Much like a child in the beginning of the movie by the end Sayers loses all of her innocence in frightening fashion.
Film editor Andrew Weisblum is off his game because he fails to establish a consistent pace for the film. The editing style is inundated with fast cuts in—between stylistic shots. While a ballerina needs to be graceful the edits in “Black Swan” are wobbly and rhythm free. The audience isn’t given a moment to catch their collective breathes and reflect on what’s happening. Without Portman’s strong presence the film would’ve fallen apart. Luckily the audience isn’t left in a daze by Weisblum’s undisciplined approach.
Consistency is director Aronofsky’s strong suit and “Black Swan” includes a lot of similar stylistic trends of his previous movies. Matthew Libatique’s cinematography is glamorous and murky all at once. The shots are framed with particular emphasis on Portman. Each en pointe move shoots pain down the audience’s necks and every grimace on Portman’s strained face is highlighted excellently. The lighting really sets the tone for the darkness that succumbs Sayers by changing from bright and hopeful to cold and desolate.
Though they don’t get the screen—time they deserve, two performances are particularly noteworthy. French actor Vincent Cassel is a dirt—bag as Thomas Leroy the Swan Lake ballet director. Cassel’s cold stare is enough to make anyone shudder. Barbara Hershey plays the role of Nina’s mother Erica. Her contempt for Nina’s talent disrupts the already fragile relationship between them.
While Aronofsky’s latest feature isn’t a classic it’s certainly one of the years best films. “Black Swan” has some chinks in its armor, notably the haphazard editing and confusing plot lines. But Portman’s near perfect acting is the cherry on top of an already delicious movie.
“Black Swan” was written by Mark Heyman and Andres Heinz and directed by Darren Aronofsky.
Watch the delightfully dark and sexy trailer below:
As always thanks for reading!
©2011 Matthew R. Reis, All rights reserved.
1) The editing choice has a purpose. The dualist nature of Nina of how she is paranoid coincides with the jumping editing. The intention is to create a mental setting for the audience in order to feel what Nina is feeling. This concept is exemplified through the confusing plot lines. You are placed in Nina's mind, she is in control of what you are supposed to see and feel. She is trying to shun the image of her mother out of her head, hence why the mother does not play a great amount of movie time. But the mother's few appearances allows the audience to glimpse into the upbringing of Nina.
ReplyDelete2) As for Ryder, her part is supposed to be brief. Just as a dying swan, Nina is replacing her, the rebirth of the Company.
3) It is true that the nature of a ballerina is to be gentle. However the focus of Black Swan is to "Black Swan"; this is creating an alternative aesthetic sense for the audience, an alternative to the classic story. We, as the audience are unaware of the story of the Black Swan, other than how the story is told as the movie progresses. The intention of wobbly movement is of the imbalance of Nina's dualistic personality, to the point that she accidentally kills herself. Yet the rhythm free aspect derives from the Black Swan as being "free" and must possess a stronger personae.
Hope all has been intuitive, looking forward towards the response.
Well saying that Nina kills herself is a bit of a stretch. She tries to take her life, but does she succeed? That's open to interpretation. I like your comment regarding Ryder's role. I think more screen time would have worked. It would have developed and fleshed out her more. She is kind of one dimensional, that's what I have issue with. But the dying swan parallel is brilliant. And the editing has kind of been a like it or hate it type of thing.
ReplyDeleteI'm so horny..
ReplyDeleteLOL Michelle. I'm so sorry I never got to comment on this earlier haha.
ReplyDelete