The potent and dazzling thriller Black Swan has become a real hit with you, our customers, and the staff here at Cornerhouse over the last few weeks. So popular we are keeping it on for an extra week. Hurrah we hear you say! So for those that haven’t seen it what is all the fuss about? Our AV Technican Dave Petty has kindly reviewed it for you…
‘Subtle’ is an adjective that can be both a blessing and a curse for a potential Oscar candidate. Use it well, and you can sweep the board with a nuanced performance here or a bleak masterpiece there. Ditch it altogether, and you end up taking home the Best Picture gong for Crash. But in the case of Black Swan, the lack of anything even approaching subtle could be its awards-baiting downfall. But to paraphrase George Clooney’s Fred Friendly in Good Night, and Good Luck., if you’re gonna go down, you might as well go down swinging. Quite simply, this is toweringly insane, operatic nightmare horror on a dizzyingly intimate but effortlessly grand scale.
I won’t spend my time here recounting too much of the plot; Portman’s dedicated but fragile Nina gets thrust into the lead role of a new performance of Swan Lake, only to have her ballet mojo thrown into disarray by Mila Kunis’ Lily, a seductive newcomer to the company who fits in with almost worrying ease, her relaxed, flirtatious demeanour a stark counterpart to Nina’s perpetual, mounting distress. Throw in the controlling matriarch (Barbara Hershey) and the ageing star (Winona Ryder) torn brutally from the limelight by Vincent Cassel’s overlord of a ballet director (equal parts manipulative teacher and sexual predator), and you have every ingredient needed for melodrama to escalate. And boy, does it escalate. And amidst the emotional minefield, there’s the innocent-looking scratches on Nina’s back developing into blood-seeping wounds that won’t go away, to visceral physical transformations that leave little to the imagination, all invaded with handheld cinematography in permanent close-up. It’s these full-blown swan-dives into body horror that push the unfolding drama to heights rarely seen in an awards season film, let alone a film that is first and foremost about ballet.
It is this jarring contrast between the real and the unreal which appears to have caused somewhat of a critical backlash against Black Swan, but for me it’s a sign of director Darren Aronofsky’s bravura and daring that he has been willing to ‘go there’, to be uncompromising about the lengths people will go to embody a role, the line between reality and fantasy becoming so blurred that it’s hard to tell what’s real and what’s not, for both the character and for the audience. As with other reviews, much has been made of the constant use of mirrors and the idea of the doppelgänger which, as Wikipedia helpfully points out, is in some traditions seen as a representation of evil and as an omen of death. For those familiar with the story of Swan Lake this will come as no surprise (for those that aren’t, this film serves as a perfectly manic introduction), but it’s Aronofsky’s desire to represent so much so literally that will ultimately divide audiences.
While Black Swan can hardly be considered original (comparisons have already been made with Cronenberg’s The Fly, Lynch’s Mulholland Dr. and Argento’s Suspiria), it’s surprising just how original it comes off, how certain images linger in the mind long after the credits have rolled. It’s been a while since I emerged from a cinema genuinely buzzing with excitement about what I’d just seen, cinema so ludicrously over-the-top and magisterial in its madness that you can’t help but be sucked in. Portman genuinely does give the performance of her career, but it would have been hard for her not to with such craftsmanship at work behind the lens.
Go see it on the big screen, and make sure you sit near the front!
Cornerhouse AV Technician