Dancer in the Dark

Black Swan (Darren Aronofsky, 2011)

It goes without saying that I had to see this film on the opening night. Well, it being me, nothing goes "without saying", it's just a turn of phrase alright? 3 key reasons for my keen anticipation: Aronofsky is one of my favourite directors; I'm a little bit in love with Natalie Portman (especially since Garden State (Zach Braff, 2004)); and beautiful people descending into madness under pressure, well it's one of my very favourite sub-genres! So, all in all, set to be a winner for me. And my-oh-my, I was not disappointed.

Black Swan is dazzling, mesmirising and sublime, I haven't felt so captivated by a film in a long time. Don't get me wrong, it's not an entirely comfortable viewing experience, it's up-close, visceral, with genuine elements of body horror at (sometimes) unexpected moments. Definitely not one for the squeamish. Aronofsky has always favoured the tight frame, one of his notable auteur-isms (if you will). In every film since Pi (1998), his camera pushes uncomfortably into the spaces of his subjects, its gaze unswerving from every flitter of emotion that traverses their faces. And here, in Black Swan, the camera is as unflinching from physical pain and horror as well, both the natural (split nails, cracking joints), to the supernatural (fusing skin, sprouting feathers). During the ballet sequences the camerawork is dizzying, spinning around the dancers, mirroring their graceful moves.

It's not just the visuals the deserve praise of course, Aronofsky's use of sound is exquisite, as it always is (Requiem for a Dream (2000) would be my top tip for best sound-engineered film of all time - what a geek). And here in Black Swan, his sound is just as masterful... the thrumming flutter of powerful wings, the stiff rustles of dresses and feathers. Alongside the sound, Aronofsky uses every trick in the book to blur the line between reality and fantasy. We, the audience, are as clueless as Nina herself when it comes to what is real here and what is not. I left the auditorium feeling shaky and confused (I mean that as praise of course!).

Portman here is a revelation, there has been much talk of her transformation as an actress following that of Nina's; from innocence to a darker side of herself. Of course, I've not seen every film she's ever made, so can't say she's never gone to such places before, but it certainly feels that way. Her performance was impeccably disturbing, overwhelmingly good. The fact that she also performed most of the dancing herself, well, that's just bloody amazing. The rest of the cast is also excellent... All the women balletic, swanlike and graceful, but also somehow spiteful; dangerous with dewy-eyed malevolence. Vincent Cassel is also great (if a little one-note) as the sleazy, but brilliant director (dictator) of the ballet, the catalyst for Nina's descent into insanity.

I'm at risk of waxing lyrical about this film for the rest of the day, so will draw to a close here. In summation, I will say that if you are one of the anti-Aronofsky (apparently they do exist), this may not change your mind, and if you're looking for a heartwarming bit of escapism, for God's sake, go and see The King's Speech instead. For all other eventualities, please please please go and see this film, you will not be disappointed. Bit jittery, maybe, but not disappointed.


Image from beyondhollywood.com - thanks.