Movie Review: Black Swan

Black Swan is my first Darren Aronofsky film, and if it is any indication as to his previous work, as implied by other reviews I have read, then I am glad I didn't see them. Not that Black Swan was not a brilliantly presented film, it is. It is just that there is only so much raw, visceral pain I can handle.

Nina(Natalie Portman) is the child-woman used in this genre, a stereotype if you will, of the fragile, innocent, sexually immature protaganist who either finds it in herself to steel herself up for the task ahead or go mad. Of course, in Black Swan, the latter happens, and the documentation of the process and visualisation of her inner turmoil and struggles grip everything voyeuristic in the audience's psyche.

Nothing beats watching another human being's struggle to battle inner demons, and in Nina's case, her perceived outer demons too, personified by evil alter-ego/ valley girl Lily (Mila Kunis) and ballet director/ seducer with the cruel lips Thomas Leroy (Vincent Cassel). Aided and abetted by her domineering mother (whose art was designed to be creepy) and Nina's own paranoia and pursuit of perfection, the demons slowly consume Nina and transform into something she recognises all too well.

I loved the cinematography, the blue filters over all the scenes, the claustrophobic tightly framed shots, unsteady camera work.I especialy love the stark contrast of the mise en scene of her bedroom which is all pink and innocence and light compared to the bile-green decor of the rest of the house. Nina's frailty is placed in stark contrast to her mother's hard veneer, her bird-like eyes adding another element of terror to an otherwise terrifying alternate reality. The use of all the minor chord movements in Tchaikovsky's original Swan Lake compositions added to the mood of doom and disaster.

I love the seamless use of CGI in the film (the head replacements making up the majority), and was truly horrified everytime she morphed into the Black Swan. One of the CGI scenes made me go to the bathroom in my pants a little. TMI, I know.

Natalie Portmen deserved her Golden Globe, playing both good and bad girl with equal beleivability, making me want to slap some backbone into her with the former and applaud her gutsiness at the latter. Mila Kunis on the other hand did not seem to be playing anyone but herself, or at least a trumoed up version of her character in "That 70s Show". Losing 20 pounds for a role does not a nomination garner.

It was sheer joy to watch the masculine strength, virility and even cruelty portrayed by Vincent Cassel. The casting director made up for the Kunis error with giving him the role.

Watch this movie, even if, like me, you don't sleep a wink that night.