Ballet may not be an art that holds wide appeal but this fact should not prevent filmgoers from viewing Darren Aronofsky’s latest work, Black Swan. The director meant for this to complement The Wrestler, another film about a performer sacrificing themselves for the sake of their art. The series is significant and sophisticated so it can be enjoyed even if the subject is totally ignored.
Natalie Portman plays Nina, a ballerina growing into her first major role, the lead in Swan Lake. Nina is technically gifted but dispassionate, unsure about what she wants for herself. Portman took this role because she wanted to explore more adult roles, similar to how Nina must outgrow her helicopter mother, pink room, and collection of stuffed animals.
Obviously, the ballet is a metaphor for the film, with similar plot twists and archetypes. Nina tries to captivate the company director, played by Vincent Cassel, only to find that his heart has been captured by a doppelganger, Mila Kunis. Haunted by this rival, she gradually pushes her limits until she is staring into the abyss itself.
Hand-held cameras and canted camera angles are some of the Aronofsky hallmarks which provide Black Swan with instability and tension. For viewers who remember the characteristics of The Wrestler will see them again but when it’s evaluated separately it is still a memorable work.
New York City is distilled into black and white scenes inhabited by similarly absolute characters at first. As the film progresses, Nina embraces the dual roles of Odette and Odile, adding shades of grey to the story. Kunis who plays Nina’s rival Lily is insidious, a true black swan. Barbara Hershey is no Myra Fleener, playing the mother who casts her own dreams upon her daughter, tormenting her. Cassel was superb as usual. The actors were enthralling and ratcheted the psychological tension. The cast is a tremendous asset for the film enabling Black Swan to shine. It is not a singular event. ****