Drowning in a Lake of Swans, Ballet, Eroticism and Paranoia

Poise, elegance, grace and beauty. Any ballet dancer worth their salt I assume would demonstrate these traits in the shedloads. Equally, these overarching qualities can be broken down into their demanding prerequisites: Athleticism, strength, determination and skill. A large majority of the ballet world has been quick to raise these points when asked whether Darren Aranofsky's Black Swan portrays a realistic picture of the trials and tribulations these dancers face when under intense pressure to perform.

After watching the somewhat disturbing trailer before the films release it must be said I was left confused as to whether this would be a straight-up horror or a surreal quasi-documentary film. After now bearing witness to the full running time I can say undisputedly that if anyone believes this to be an accurate portrayal of the ballerina lifestyle must be as crazy as the protagonist Natalie Portman embodies.

It speaks volumes about the ballerinas who have been quick to criticise this dark, twisted and utterly riveting tale. To put it bluntly, they've missed the point of the film. The Requiem director has created a film which addresses the frailty and vulnerability of the human condition. More specifically, Aranofsky has sought to create a visual experience which demonstrates a performer's ability to completely "lose themselves" in the role to the extent where some are consumed by it. The last part of the film is clear evidence of this. With this in mind, the themes of Black Swan could arguably be just as effective when placed in a film about stage performers, film performers or any type of performer for that matter.

For those who have not been swept up in the gargantuan hype surrounding this film, Black Swan tells the story of Nina Sayers (Portman) who aspires to perform as the lead in Tchaikovsky's Swan Lake. In pursuing her goal Nina confronts her inner demons, questioning her sexuality, confidence, relationships and sanity along the way. A link can be drawn between this piece and Aranofsky's previous work The Wrestler, in that both raise issues surrounding the world of performance.

Natalie Portman in Black Swan                    

Rather than leave people in suspense I may as well get this one out of the way: Natalie Portman is a revelation. Long are the days when the paying public had to witness this talented actress being paraded in horrifying make up and wigs in the Star Wars prequel trilogy. She delivers a performance which is epic yet understated and it stands to reason that this is her film. Portman deftly captures the frailty and insecurities of a young woman who is victim to an over-bearing and quite simply frightening mother, a sly and repulsive director and ballerinas who sweat envy. All of these factors makes Portmans decent down the Rabbit Hole all the more believable. It is worth noting at this point that Portmans preparation for the film (read around for details on her one year training period) alone deserves an oscar. So lets hope the Academy can get it bloody right for once.

Other honorable mentions should go to Mila Kunis and Vincent Cassel (probably one of the finest French actors of his generation). Kunis provides a sultry and seductive edge to her role that I haven't seen since the days of Sharon Stone in Basic Instinct.

With this edge comes a large theme which seems to envelope the film from when the projector is turned on. Sexual imagery and tension pervade this cinematic experience from the very outset and, at times, I can imagine it may be too much to stomach for some. All I need say is "old man simulating sexual gratification on a train" and I believe that either you will laugh or feel very uncomfortable after watching this scene.

A lot of light has been shone on the now infamous lesbian scene within the film. In all honesty I didn't find this as graphic as some film critics would like to have you imagine but I did feel, within the context of the film, it is entirely relevant to the protagonist's story arc. Many filmmakers will flippantly throw in a scene such as the one mentioned to generate a furor and controversy around the release date and thus drag more people into the cinema. One I believe this treats people as idiots and two is testament to the state of the industry. However, the eroticism is entirely justified in Black Swan and gives an insight into the immaturity and, to some extent, naivety of Nina.

Finally, a lot has to be said about Aranofsky's direction. If you're an avid fan of his earlier work you'll certainly find a whole heap of tricks with a strange sense of deja vu. This being the case, he manages to weave these devices into the melodrama so well that you cannot help but be swept up in this insane rollercoaster. The last act of the film is certainly tense and there were a few moments where I thought I seen Alfred Hitchcock standing in the wings. Particular praise should go to the cinematography and special effects involved in the dance of the black swan. Never has a film in recent memory captured the drama, excitement and power of theatre as that one scene managed: Breathtaking.

I seem to have mentioned a word once or twice in this review which I feel perfectly captures this film: Melodrama. Just like the Tchaikovsky piece which is at it's core, this film enraptures you in its bird-like arms in tense, riveting, maddening and delirious drama. It may not be to everyone's taste but with Portman's performance, masterful direction and a seductive allure into the heart of madness, Black Swan really does soar.