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BLACK SWAN A rare and beautiful thing – a perfect movie : Venice 2010 Review

BLACK SWAN A rare and beautiful thing a perfect movie : Venice 2010 Review


For those that read my instant and knee-jerk reaction to Darren Aronofsky's Black Swan on Wednesday, straight after the film opened the 67th Venice Film Festival, the word "masterpiece" may have struck as an overreaction. The enthusiastic rantings of a fan, perhaps. But now, with a good couple of days behind me to properly mull it over, I can safely say that I stand by those early remarks.

I was not really much of an Aronofsky fan, prior to this. Sure, I enjoyed (or more appreciated) The Wrestler (the Golden Lion winner here in 2008), but I found Pi a bit pretentious, and the other two somewhere in between interesting and tedious. So I wasn't going into Black Swan as a fan. I was indifferent. Therefore, it came as a bit of a shock for me to find the film as interesting, as exciting and as complete as it was.

What surprised me more was that, was that whilst Aronofsky's previous films have always left me a little cold, Black Swan took me through a whole range of emotions.

I don't know whether anybody would classify Black Swan as a horror movie. Yet it was, at times, one of the most horrific films I have seen. I was certainly tempted to cover my face more often than I had been during Lars Von Trier's Antichrist, a film with far less visceral and horrific imagery than this film about ballet. Which is not to diminish Antichrist at all. Whether it was the oft-repeated device of the mother (Barbara Hershey) cutting the fingernails of Nina (Natalie Portman), with tense music, quick editing and edgey close-ups, or the sight of the latest grotesque ballet injury, Black Swan had me wincing and squirming throughout. It made me jump a number of times and, at one point, I felt literally paralysed by fear, unable to blink or turn away frozen stiff, even unwilling to breath.

I don't scare easily, for instance The Shining (great though that is) fails to frighten me. But Black Swan was, during one scene, so terrifying to me that thinking about it now makes me shudder. And like I say, it is not even really a horror film.

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Darren Aronofsky's quickly moving supernatural thriller "Black Swan" may have found its other leading lady according to The Hollywood Reporter, former That '70s Show spoiled brat Mila Kunis (basically the only one from the show who has actually found A-list work in Hollywood, it would appear) is currently in negotiations to join Aronofsky's "Black Swan" as the nemesis of Natalie Portman's character. "Black Swan" will be set in the New York City Ballet and will star Portman as a talented ballerina who is tormented by a rival named Lilly (Kunis' would-be character) who may or may not be a figment of her imagination. As the big performance gets closer, stranger things start happening, and Portman's character may just be losing her mind. Or a ghost is after her. Either way, it's Aronofsky, so expect a pretty heady, moody thriller filled with artistic flourishes. This isn't "The Wrestler", after all, there's no need for grit. The premise of "Black Swan" would seem to lend itself to some heavy mood lightning and creepy vibes. "Black Swan" takes flight in New York City this fall.

As the night of the ballet's opening draws nearer, the pressures on Nina escalate. What begins as neuroses easily explained by a stressful job and a repressive mother soon blossoms into a much darker psychosis: she hallucinates seeing her face on other women, indulges bloody fantasies of self-mutilation, and grows increasingly paranoid that Lily, recently assigned as her understudy, is conspiring to take her part. Yet even as her fervent dreams begin to invade waking life, Nina is dancing the Black Swan better and better.

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