A dancer frail, fragile, undertakes Swan Lake by Tchaikovsky . His graceful gestures delicately accompany the camera is one with his interpreter. Suddenly, a monstrous creature comes and wins. This ballet of death whirls, electrifies. The swan is helpless invaded by the monster. End of scene. A poetry of horror starts and heightens the curiosity of the viewer fully seduced who, sometime later, will be for expenses.
Darren Aronofsky has always filmed beings steeped in addiction: mathematics, drugs in wrestling. After The Wrestler in which he revived Mickey Rourke, Natalie Portman gives it an intense physical partition in which it dazzles and should earn him an Oscar deserved. Her character is Nina ballerina in New York City Ballet. She is desperate to get the role of the Swan, but the choreographer (played by a sneering Vincent Cassel) is that Nina, perfect for the role of the white swan, lost his control in order to unlock its dark side and become the black swan. Nina is torturing her body and face a formidable rival, Lili (Mila Kunis), freer, more fulfilled.
The parallels between the trajectories of actresses Black Swan and those of their characters reveal the part of Aronofsky and a certain cruelty. Barbara Hershey, actress and aging former glory of the 80s, plays the mother possessive and jealous of her daughter, frustrated at never having achieved a career. Winona Ryder, icon of the 90s now blacklisted, plays a fallen star dancer and suicidal. As for Natalie Portman, she has waited ten years before he was offered the role of his life, working until you drop five hours a day to become, at twenty-eight years, a real ballerina. Three fates troubling that reinforce the unease that is felt to see all these players evolve in this closed world of dance, with its pain prohibited her secret sufferings, his obsession with perfection.
Workplaces qu'Aronofsky through his camera alert and feverish, making it very uncomfortable. An atmosphere enhanced by the choice of designs: the chamber of the heroine looks like a child of twelve years, the theater is gray brick recalls the bitterness of being a dancer, the urban environment both discrete and pervasive undermines Nina. And repeated shots on his tortured body, his repeated injuries and the painful work of creating the danger points.
References are (too?) Are legion and well thought sure to Red Slippers Powell and Pressburger who told beautifully sacrificing a dancer do anything to stay on stage. Aronofsky, despite his talent as a filmmaker, do not tell anything. And references are accrued as the movie strayed into fantasy and horror. It is believed to Cronenberg for mutations and organic Polanski for detention and schizophrenia without ever Aronofsky manages to surpass its illustrious models.
For the filmmaker taints his film heaviness of staging increasingly heavy, with blows signifying visual metaphors between black and white to fully explain the difference between good and evil. In addition, it multiplies the effects of shock and horror movie free, brushing repeatedly ridiculous. This repetitiveness lost to the filmmaker about the great deal he did not know how to get into the depths of darkness so necessary for artistic development. He simply make a rough analogy between the plot of Swan Lake and that the scenario at no time does he hustles. Malin, it was believed to fill this vacuum blows spectacular effects, the partition Tchaïkosvki overplayed in the final ballet in order to disguise the emptiness of his words. Because we recognize a true filmmaker's sincerity here that seems to replace an endless roller coaster ride.
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