“Black Swan” Review

Black Swan (2010)   


Directed by Darren Aronofsky, ‘Black Swan’ is an ambitious film promising to submerge one into the world of classical ballet, a game of sexual seduction, hallucinatory experiences and pure psychological delirium, but did it deliver?

In ‘Black Swan’ Natalie Portman plays Nina, a ballet dancer in a respected dance company headed by Thomas Leroy (Vincent Cassel). Leroy is to stage a new production of ‘Swan Lake’, choosing Nina as his Swan Queen. Although Leroy is sure that Nina can dance the beautiful, fragile and innocent White Swan, he is not convinced that she can dance the Black Swan, who is a confident, strong, seductive and lustful ‘twin’ of the White Swan. There is also another ballerina in the company, named Lily (Mila Kunis), who seems to fit the Black Swan image perfectly. She is more in touch with her sensual nature and is more relaxed on stage than Nina. There is also Beth Macintyre (Winona Ryder), a retiring ballerina, who is both the source of Nina’s inspiration and a warning for her. As Nina’s debut in ‘Swan Lake’ approaches fast, Nina’s domineering mother (Barbara Hershey) exert more and more pressure on her, and Nina’s acquaintance with Lily produces some unexpected results, leading to Nina’s rapid physical and psychological metamorphosis.

 First, it is interesting to explore the film’s main themes. ‘Black Swan’ portrays the devastating effects that immense pressure and high expectations can have on an individual. The heroine in ‘Black Swan’ seems to undergo a psychological ‘burn out’. Tracy states that a burnout is ‘a general wearing out or alienation from the pressures of work’. High levels of stress and perfectionism can cause such a state, and in some cases it can result in the individual losing their ‘sense of reality’, sustaining a nervous breakdown and even becoming schizophrenic. This is Nina’s diagnosis as she starts to experience vivid auditory and visionary hallucinations followed by instances of paranoia (here one can draw parallels with Polanski’s ‘Repulsion’ (1965)). The diagnosis of dual personality disorder is also not ruled out because Nina seems to switch from one personality to another during her performance in ‘Swan Lake’.

Another dominant theme of this film is more on the symbolic side. This is the idea of an ‘evil twin’, an antagonist with ‘radically inverted moralities’ to the main character, but usually resembling the main character physically. This is not an original or new idea, and plenty of literature explored it already – from RL Stevenson’s ‘Strange Case of Dr Jekyll and Mr Hide’ to Dostoevsky’s poem ‘The Double’. In ‘Black Swan’ there are a number of occasions where Nina sees her doppelganger. The ancient belief is that seeing one’s doppelganger is inevitably followed by some tragedy or misfortune, and is generally considered to be a bad sign. The role of the ‘evil twin’ in this film is played by Lily, who resembles Nina physically, but is very different from her on a personal level. As the film moves forward, however, Nina starts to share the attributes of her twin more and more, and this psychological process is completed upon her full physical and mental metamorphosis. Hence, the predominant use of mirrors throughout the film, emphasising the duality of a person and the mirage of the perceived reality.  At some point during the film the evil twin is also and indeed murdered as it often happens in the ‘evil twin’ stories, where darkness or light takes control over the counterpart. More often than not, however, evil twins are simply unmasked or banished, reminiscing Dumas’s novel ‘The Vicomte of Bragelonne: Ten Years Later’ part three ‘The Man in the Iron Mask’.

Despite these exhilarating themes, however, ‘Black Swan’ fails to achieve the standard of a great film. As with ‘The Fountain’ (2006), Aronofsky sets his goals too high, and fails to meet the expectations. The director wants to address many issues with one film: commitment, obsession, rivalry, mental health, etc, and wants his film to be many things: ‘Black Swan’ is a combination of a psychological thriller, drama and horror. However, by trying to chase different things, he ends up nowhere, losing substance, emotional connections and meaning along the way. ‘Black Swan’ is far from being an emotionally charged picture as it should be, and when the credits finally roll out, one has the feeling that something great was missing from it, waiting for Part II, as if the film has only just began. In short, Aronofsky’s ‘Black Swan’ and ‘The Fountain’ both try to impress on psychological/philosophical levels, but their ambitious nature is the only thing that deserves the ovation. In both films, what we observe is the beginning and the end, with the middle of the matter – the substance of the matter – being cut out. One way in which the film, may have acquired more substance and meaning would be to incorporate David, ‘the Prince’, more into the story. While Leroy does a good job, his interaction with Nina is more of a story accessory rather than the main part. Maybe it would have made greater sense for David to fall in love with Nina, only to be seduced by Lily. That way, Nina’s life would mirror the ‘Swan Lake’ ballet story, making her hallucinatory downfall even more pronounced. 

Interestingly enough, both in ‘Black Swan’ and in ‘The Fountain’, the main characters are full of ambition and hope, but achieve their aim only at the too high a cost. In ‘Black Swan’ Nina strives to be the perfect success, but loses her sanity as a result, while in the ‘The Fountain’ the main character, full of hope for eternal life, reaches his aim by drinking from the Fountain of Life, only to be destroyed by the Tree of Life. The same thing, incidentally, happens in Aronofsky’s ‘Requiem for a Dream’ (2000). There, the heroine achieves her aim of becoming slimmer, but only at the expense of turning into a drug addict.

Realism is also not one of Aronofsky’s stronger points: ballerinas fall during live performances, and they are hailed as a success, ballerinas are allowed to have huge tattoos over visible parts of their bodies, and sympathy is given among ballerina girls after particular falls, not to mention another dozen or so ballet inconsistencies. 

Another thing which ruins ‘Black Swan’ is Natalie Portman. Setting aside the fact that Portman does not look like a ballerina at all (she is too short and looks ‘stiff’), Portman performs the role of a ballerina without the required grace or passion for the profession, but maybe only a person involved in the world of classical ballet can spot that. Portman looks like she only belongs on the set of ‘No Strings Attached’ (2011) or maybe even joining her friend Kunis on the set of ‘Friends with Benefits’ (2011); the point being the word ‘fake’ is written all over her skilful performance. On the positive note, however, other actors’ performances in ‘Black Swan’ are excellent. Barbara Hershey in her role of Erica Sayers, Nina’s mother, shines, as does Winona Ryder in her role of Beth Macintyre. The new-comer Kunis also does a very good portrayal of Lily, Nina’s rival. Vincent Cassel’s performance deserves special admiration. Cassel portrays Thomas Leroy very convincingly with just the right portions of charm, ruthlessness and masculinity. Tchaikovsky’s beautiful music, borrowed by Aronofsky, is another thing which carries this film to a finishing line. Clint Mansell’s score composed for the film is also very good, fitting into the brooding atmosphere of the picture perfectly.

Overall, as it is clear from the analysis above, ‘Black Swan’ is an entertaining thriller full of psychological and symbolic complexities; however, copying shamefully from ‘Perfect Blue’ (1997) and drawing more than just inspiration from Polanski’s ‘Repulsion’, it is clear that Aronofsky should really stick to his budget productions (in the spirit of ‘Requiem for a Dream’ and ‘The Fountain’), because he is clearly incapable of producing originality or master-class on a grand scale. 7/10 


8 Responses to “Black Swan” Review

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