By Chip Schrader
Movie Reviewer
“Black Swan” begins with a ballerina in a white, feathered costume, a spotlight cast above her from an unknown source as she is surrounded by black. She begins to gracefully dance, the camera following her every step. As she turns, a beast in black feathers appears and they thrash together as the feathers fly off of her costume. The next scene opens with the dancer awake, discussing this dream with her mother as she cracks the bones in her feet, stretches and prepares for her rehearsal.
This ballerina is Nina, played by Natalie Portman. Under the director of “Swan Lake,” she and other hopefuls vie for his attention and approval to land that coveted spot. The director is shrewdly portrayed by Vincent Cassel as he manipulates and seduces the dancers to not only perform at their best, but perhaps to seduce them for his own personal gratification.
Portman nails becoming physically and emotionally tortured Nina. She is caught in the envy of the other dancers and goaded into discovering her dark side to veer away from trying to be perfect, and becoming a believable black swan, as her portrayal of the white swan comes naturally. But, with a controlling mother, played by a weathered Barbara Hershey, who tries to keep her young and innocent, her quest for perfection splits her between what her mother wants, and what her director wants. It seemed to never cross her mind what she wants for herself.
Mila Kunis’ supporting role as Lily is equally convincing, however, the role of Nina requires a deeper study of character and transformation, making Portman a runaway Oscar favorite. The writing has multiple layers that establish a visual vocabulary where Nina’s physical beatings and lacerations resemble the molting of a swan whose feathers are about to change from white to black. She is faced with the rebellion, growing pains, and the psychological cost of perfection.
The metaphors and dream sequences coupled with a color palate that revolves around the color gray, dark and light, and cinematography where the camera appears as a dance partner makes this film a very tightly conceived motion picture. Not once does the director lose the audience, as they are continually clued in on what is happening.
The only fault with the cinematography is the lack of panoramic shots to exploit the settings, at times it seems a little claustrophobic, although this technique does fit the theme of the movie. Also, the storyline has some predictability, but the way the scenes and acting colors it all in, it doesn’t matter.
The best way to describe Portman’s portrayal, and on screen transformation, of Nina is fierce. By the end, she has the audience gripping the arms of their seats cringing, gasping, and rejoicing as if it were a live stage performance. This is a far cry from her monotone portrayal of Queen Amidala/Padme in the Star Wars prequels, and is likely the role of her lifetime.
With scenes of frank sensuality, demonic visions, blood and pain, this is not a film for everyone. For those who can cringe through a few brief graphic scenes, this will prove to be the most rewarding cinematic experience of the season. A must-see, and well-deserving Oscar contender. 4.5 out of 5.
Photo caption: (Courtesy image of “Black Swan” movie poster)
Movie Reviewer
“Black Swan” begins with a ballerina in a white, feathered costume, a spotlight cast above her from an unknown source as she is surrounded by black. She begins to gracefully dance, the camera following her every step. As she turns, a beast in black feathers appears and they thrash together as the feathers fly off of her costume. The next scene opens with the dancer awake, discussing this dream with her mother as she cracks the bones in her feet, stretches and prepares for her rehearsal.
This ballerina is Nina, played by Natalie Portman. Under the director of “Swan Lake,” she and other hopefuls vie for his attention and approval to land that coveted spot. The director is shrewdly portrayed by Vincent Cassel as he manipulates and seduces the dancers to not only perform at their best, but perhaps to seduce them for his own personal gratification.
Portman nails becoming physically and emotionally tortured Nina. She is caught in the envy of the other dancers and goaded into discovering her dark side to veer away from trying to be perfect, and becoming a believable black swan, as her portrayal of the white swan comes naturally. But, with a controlling mother, played by a weathered Barbara Hershey, who tries to keep her young and innocent, her quest for perfection splits her between what her mother wants, and what her director wants. It seemed to never cross her mind what she wants for herself.
Mila Kunis’ supporting role as Lily is equally convincing, however, the role of Nina requires a deeper study of character and transformation, making Portman a runaway Oscar favorite. The writing has multiple layers that establish a visual vocabulary where Nina’s physical beatings and lacerations resemble the molting of a swan whose feathers are about to change from white to black. She is faced with the rebellion, growing pains, and the psychological cost of perfection.
The metaphors and dream sequences coupled with a color palate that revolves around the color gray, dark and light, and cinematography where the camera appears as a dance partner makes this film a very tightly conceived motion picture. Not once does the director lose the audience, as they are continually clued in on what is happening.
The only fault with the cinematography is the lack of panoramic shots to exploit the settings, at times it seems a little claustrophobic, although this technique does fit the theme of the movie. Also, the storyline has some predictability, but the way the scenes and acting colors it all in, it doesn’t matter.
The best way to describe Portman’s portrayal, and on screen transformation, of Nina is fierce. By the end, she has the audience gripping the arms of their seats cringing, gasping, and rejoicing as if it were a live stage performance. This is a far cry from her monotone portrayal of Queen Amidala/Padme in the Star Wars prequels, and is likely the role of her lifetime.
With scenes of frank sensuality, demonic visions, blood and pain, this is not a film for everyone. For those who can cringe through a few brief graphic scenes, this will prove to be the most rewarding cinematic experience of the season. A must-see, and well-deserving Oscar contender. 4.5 out of 5.
Photo caption: (Courtesy image of “Black Swan” movie poster)
