It’s “Phantom of the Ballet” as Natalie Portman stars in Black Swan, the much-hyped psychological thriller, directed by Darren Aronofsky (The Wrestler) which will attract as much comment about the sex scenes as the dancing.
Nina (Natalie Portman) is an aspiring ballerina, driven by an obsessive mother (Barbara Hershey) and her own perfectionism. She is shy, awkward, almost frigid and literally dreams of being the White Swan in Swan Lake. Director Thomas (Vince Cassel) is deposing diva Beth (Winona Ryder) and is looking for a new head swan. He tells Nina she is technically perfect and graceful, but doesn’t quite have the passion and darkness required to be the Black Swan.
Despite Leroy’s criticism and a poor audition, Nina somehow manages to land the role. Standing by is Lily (Mila Kunis) who is a naturally sensual, friendly and flirtatious dancer and is both Nina’s rival and only friend. She becomes the pathway to opening Nina’s dark side, and a night on the town helps Nina find, and play with, her inner demons.
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This could have been a clumsy coming-of-age story, but things aren’t quite what they seem. Nina is driven, bulimic and self-destructive. We see the toll the ballet takes on toes and feet, and the mind. The bleeding finger scene is uncomfortable, and the first hint Nina is becoming delusional.
There are some great scenes in this movie. Portman is reportedly very uncomfortable about her sex scene with Kunis, and her masturbation scene, which turns comic, but there is nothing to trouble censors here; it is more the power of erotic suggestion and strong acting which carries them.
The two leading ladies, particularly Kunis, are excellent. Portman is captivating as Nina and Kunis exudes sensuality. Hershey is suitably shrewish as the mother, but you have to wonder why Ryder chose to sign up for just a handful of minor scenes. And Cassel is a fine actor; one good enough to wince at his performance.
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As opening night nears, Nina’s behaviour starts to unravel; illusions become delusions (and I’m not referring to the direction) and the story seems to start to lose its way. What starts as an interesting exploration of the pressures of perfectionism, turns to trickery instead, and you know you’re in trouble when a psychological drama needs special effects to make its point. The camera goes from wobbly hand-held, to steady, and Aronofsky chooses greys and blacks for a dull set design, when it could have been so much richer.
Black Swan will be divisive, but it is the most interesting movie to come out of Hollywood in years; it features excellent performances, lovely dancing and inner irony. However, while the ugly duckling blossomed into something more beautiful, this little swan goes in reverse, and the direction loses confidence in its performers. For me, what begins as an interesting journey ends as something that feels a little plucked and overdone.
Your say: What did you think of Black Swan? Do you think Natalie deserves her Best Actress Oscar nomination?
Video: Black Swan trailer
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