Black Swan (2010)
Starring Natalie Portman, Mila Kunis, Vincent Cassel, Winona Ryder, and Barbara Hershey
Directed by Darren Aronofsky
I don't really know where to begin with Black Swan. There are things like the direction and Natalie Portman's performance that I truly admired in Darren Aronofsky's character study of a tortured ballerina. And then there's a script which, for the first two-thirds of the film, is riddled with clichés and painfully silly dialog that not even a talented director and actress can overcome. While I do believe that Aronofsky is well aware of what I perceive as the script's problems (not that he would agree with that assessment) and attempts to play them to a full-tilt almost camp-like tone, the end product is flawed.
After struggling for a few years as part of a prestigious ballet troupe in New York City, Nina (Natalie Portman) finally seizes her chance to make a name for herself in her craft when the group's director, Thomas (Vincent Cassel) gives the young woman an opportunity to play the lead in his re-imagining of the classic ballet Swan Lake. As the lead in the ballet, Nina must take on duel roles of both the white swan and black swan, with the former lending itself to the beautiful gracefulness that one typically associates with ballet and the latter adopting a more loose, aggressive, and powerful style. Thomas is quite pleased with the softer side of Nina, but feels that her technique for the black swan is not nearly as gritty as he would like. While he tries to prod Nina into exploring her inner self (which apparently only involves pleasuring oneself sexually), the young ballerina slowly begins to break down. Feeling pressure from both her overbearing mother (Barbara Hershey) who treats Nina as if she were a little girl and Lilly, the sexy and talented newcomer to the group (Mila Kunis) whose wild, heavy-drinking ways are the complete opposite of the uptight and quiet Nina, Nina starts to go a little cuckoo (which is a completely different type of bird from a swan).
In and of itself, the story is fine. The problem lies in both the dialog (which is so childish and stilted that there were moments I chuckled to myself) and the character of Nina who never really develops any characteristic other than "neurotic." Even at the beginning of the film, Nina's timidity is too extreme to be normal and as the film progresses, she just gets increasingly more crazy. Sure, the kookiness is a valid characteristic for the character, but there's nothing else there for Natalie Portman to latch onto as an actress despite the fact that multiple attempts are made to blatantly tell us that Nina is a fractured soul. If she's so fractured, where are all these other elements besides "CRAZY" that make Nina who she is?
That said, Portman latches onto that craziness and gives the role her all. Although, as evidenced by the previous paragraph, there's not nearly the depth that I thought was going to be present. Portman is at her best in scenes where she's paired up with the lovely and sexy (and surprisingly talented) Mila Kunis and the frighteningly "Mommie Dearest-y" Barbara Hershey. Both Kunis and Hershey are simply playing stereotypes to the hilt, but they embrace those clichés with gusto and make Portman's Nina an infinitely more interesting character.
As a director, Darren Aronofsky is certainly someone whom I admire.
Requiem for a Dream is one of the very few movies that I have given an 'A' to on this blog and it's a film that is probably in my Top 20 of All Time.
The Wrestler also was quite good and, similar to that film which was a tour de force character study for Mickey Rourke,
Black Swan attempts to be a showcase for Portman. Aronofsky certainly has talent -- there are scenes here that held me riveted...and then there was some insanely horrid dialog that ruined things. But still, Aronsofsky has an eye for interesting visuals. One scene that had me particularly entranced takes place in a night club and as the strobe lights begin to flash, Aronofsky simply pops up a completely different image with each flash of the strobes. Portman...then Kunis...then the two together...et cetera. That scene alone was sexier than any of the others in the film -- and this film certainly has a few sex scenes (although I'm sure a few will be very disappointed by the complete lack of nudity).
Anyway, I've rambled long enough and the more that I'm rambling, the more I'm actually disliking the film. All that said, I do feel like this is a film I want to watch again without a doubt...and I honestly feel like the next time around, my thoughts could be completely different. While I don't see this becoming the Best Film of 2010, I can see it rising up in the ratings. Then again, I can also see it plummeting precipitously if I discover that it seems even emptier than I think it is now. In the end, Black Swan is too many things and too few things at the same time. It's a horror film, a psychological drama, and an intense character study...but it's also a character study with a complete lack of characteristics to be studying. It's difficult to say that the film was one-note simply because I appreciate the direction of Aronofsky, but when you remove all the fluff around the edges of the story, there's really not nearly as much depth in the main character as the filmmakers would lead you to believe.
The RyMickey Rating: C+
