Black Swan

After viewing the much anticipated release of Darren Aronofsky's new film "Black Swan," one query dangles in the air. It has not to do with story, structure, theme, plot or even recalling what was just witnessed for the past 108 minutes. The question simply is: how does Natalie Portman make any film she appears in transcend its source material?

In this case, the film provides depth and emotion for Ms. Portman to work from. Living, acting is not even appropriate as is this was more a performance, as Nina Sayers, a ballerina who is plagued with self doubt and whose idea of completion is knowing she's perfect, Ms. Portman transforms herself physically.

Granted, this is an Oscar role. It's meaty, dark, sensual and audiences will only be appreciative of Ms. Portman for giving us the truth. Truth in acting, truth in art and truth in life.

The story follows Nina as she vies for the lead in her ballet company's new production of Swan Lake. In a newly renovated production, she will portray the White Swan and the Black Swan, and perform a metamorphosis, while at the end of the ballet, killing herself. Her rival, Lily, played by Mila Kunis turns in a rock solid performance as the loose cannon, who represents everything Nina is not and is a threat to her personally and artistically. At this point, it's worth noting how intricate Ms. Portman's character work appears to be in this film. If it's possible to reach a state beyond breathlessness without losing conciousness, she lets us achieve this through her specific characterization all the way down to the simple sound of her breath.

Nina is a focused young woman. She knows nothing of the fun that Lily indulges in, which at the forefront of this film, is sex. Sexuality as a theme in "Black Swan" is given just as much weight as its central theme of perfection. To strive for perfection, one must be a whole being. This theme and its depiction is reminiscent of Ingmar Bergman films such as "The Seventh Seal" and "Persona." Here, the homoeroticism that exists between the two female characters is played out graphically. One can't help but want to protect Nina from this turn to the dark side: The Black Swan. Through discovering pleasure, as demanded research from her director Thomas, played by a wonderful Vincent Cassel, both masturbation and oral sex provide Nina with a push towards something that is almost out of her reach. Constantly being told to "loosen up", one night, she finally does, much to her mother's dismay.

Her mother, played to Mommie Dearest perfection by Barbara Hershey, has a fascination with her daughter's success because of what she gave up herself when she was 28. However, Nina, who still calls her mommy, never feels the need to address pent up with issues with her mother to the point of full confrontation until Nina starts to break. Winona Ryder also makes a brief but permenant appearance as Beth, the original Swan who first performed the lead when the ballet company was first opened. Still, the movie oozes with sexuality. Images and references bring this theme home but nothing more so than the realization that without our sexuality, we are not a whole. Through sensuality, and the feeling of ourselves, only then can we begin to grow.

We are human. We are good and we are evil. Can we be good without having evil inside us? Is the evil inside us something waiting to be released that will self destruct us? "Black Swan" not only demands answers to these questions, but forces us to face their consequences. For in each of us, there is a black swan, someone wanting to be heard, to go against society's rules and expectations. Most of us remain white swans without ever giving over to our black swan. The examination of this aspect resides in control. To be slightly self destructive, to let loose per say, there needs to be a controlling factor.

Aronfsky's images provide proof of his genius. His collaboration with Ms. Portman brings us a story that, though dark, needs to be told. Beautiful dance sequences, dopplegangers, mirrors, self mutilation, graphic images of fantasy and reality, a REAL story shot almost as a horror movie: the film truly has it all. Shot in digital and 16mm, the shaky effect works wonderfully for this mentally unstable world we are allowed into. Truly like the masters of cinema such as Bergman, Kurosawa, Cassavetes and more, Mr. Aronfsky only leaves hints for us to discover Nina's true psychosis.

In the performance of her career, Ms. Portman not only leads this film to its grace, but dares us to look away from her for a moment. For if we do, there's a fear that lurks inside of us, just like Nina, that we will miss something monumental. A smile, a glance or even a breath not seen from our generation's Meryl Streep would be a sin.

Black Swan, finally, gives us something we've been waiting a really long time for in cinema: a picture that transforms us, livens us, teaches us and proves to us that great filmmaking is still possible.

Next To Normal Gets New Leads

Next To Normal has always been known as the show about the "crazy mom." Having lost out on 2009's Tony Award for Best Musical to Billy Elliot, N2N became that much more empowered by its audience. Up until July of 2010, Diana Goodman was played by stage veteran Alice Ripley, in a Tony winning performance. Ripley is currently playing Diana on a nationwide tour and announced her departure in May. The role of Dan Goodman, her husband, was played alternately by J. Robert Spencer and Brian D'Arcy James, both whom brought spectacular clarity and vulnerability to the role. Diana and Dan's daughter Natalie was played from its origin by Jennifer Damiano. Ms. Damiano leaves N2N to star in Spiderman: The Musical, opening this winter.

Next To Normal is a story by Tom Kitt and Brian Yorkey centered around Diana, a bi-polar depressive with delusional episodes, and the toll her illness has taken on her and her family. A stunning soundtrack with a perfectly built set for this particular piece allows us inside the mind of Diana. Except, this musical goes one step further. It lets us inside the mind of Dan, Natalie, Henry (Natalie's love interest), and even the various doctors that treat her. A story of struggle, devotion, treatment and above all family garnered Next To Normal the 2010 Pulitzer Prize in Drama.

Diana and Dan Goodman are now played by real-life husband and wife Marin Mazzie and Jason Danieley. The role of Natalie is played by Meghann Fahy. The first thought upon hearing the change in casting is who could possibly replace Alice Ripley? The answer is no one. Ms. Mazzie does a wonderful job portraying Diana and having her mania brought center stage, as opposed to Ripley's internal struggle. For a few moments, it's tough to settle into the new Diana. Granted, Ms. Ripley originated Diana from paper and has been with the show through every workshop and production, so there is an ease in favoring her in a comparison. At moments, I felt Ms. Mazzie was singing the words instead of striving to give them meaning and at other times, I felt her choices were remarkably and wonderfully thought out, as they contrasted the old Diana. Of course, the new cast needs to settle their kinks. As Ben Brantley from the Times said, the show is still there. Ms. Mazzie is beautiful to watch, haunting at times even but one still feels she, as Diana is, still searching for something she hasn't found yet.

Mr. Danieley plays Dan with a great rugged nature. Unlike Mr. Spencer or Mr. D'Arcy James, this Dan feels a bit more masculine in the way he shows us his emotions. Not entirely negative is this display, yet Dan's softer songs such as "I've Been" and "I'm The One (reprise), don't satisfy the breakdown of this mask Mr. Danieley has put up. Dan is a favorite among many who see the play because of his generosity and devotion. Those attributes are still there, only with a harder edge.

The dynamic between the couple, bringing real life to stage or vice versa, seems to fit the balance quite well. You will never see a more moving version of Diana's "So Anyway", as when you share the intensity from each of their eyes. The final pause when the song is over renders you heartbroken, as it should. The sobs in the theatre, throughout the whole production, affirmed N2N still retains its power.

Ms. Fahy, a strikingly beautiful and talented young actress, gives Natalie a bit of space. Not too much different from Ms. Damiano's performance, Ms. Fahy encaptures the rage, angst and worry of a teenager embarrassed of her mother's illness. A little bit lacking in comedic is Ms. Fahy's performance, but instead we find the pleasure of an added element of a young girl on the verge. Will she turn out like her mother? In the end, does she think that's a horrible thing after all? Most impressively enacted is her performance that opens the second act in the song "Wish I Were Here." It's at this moment as Ms. Fahey is swinging on poles and feeling what loss of control is that the actress truly shines.

N2N, being the story and musical it is, can stand on any one's feet. A brilliantly told story of mental illness in today's age seen from differing points of views will make you leave the theatre sobbing, enthralled and maybe even a bit more compassionate when using the word "crazy."

Next To Normal continues to play performances at The Booth Theatre in NYC on 45th Street. Tickets can be purchased at telecharge.com

"Chloe"

Atom Egoyan's return to the big screen since 2008's "Adoration," brings us a sexual thriller, though that's being generous, of what we've seen repeatedly in this genre. In "Chloe," his direction lends little thought to this type of obsession-marriage-sex-sex-marriage-obsession picture. One thing the audience does got a whole lot of is skin. Amanda Seyfried (Chloe), most recently of the gag-fest "Jennifer's Body", is the hot topic of this conversation. Julianne Moore, Catherine, has appeared nude before and for the most part her nudity was somewhat integral to the story. The frequented number of times that Ms. Seyfried is shown in either full frontal or from the side feels beyond voyeuristic and almost pornographic.

The film centers around Chloe (Ms. Seyfried), a "lady of the evening" who has a particular outlook on life that arouses our curiosity of her justification. Beginning with a voice-over(which never again happens in the film, only for a brief 45 seconds here), we watch Chloe getting dressed. Mr. Egoyan may have been issuing us a warning to "run now or sit for the ride" when the very first shot of the movie is a medium over the shoulder shot revealing Chloe topless. Catherine (Ms. Moore), a gynecologist who works next to a hotel that Chloe is "working" at, has planned a surprise party for her husband David (Mr. Neeson). The plot was not entirely clear as to why David had to continuously fly back and forth to his job. However, the night of his birthday his students ask him out for a drink, knowing he needs to be on a plane and unaware there is a surprise party waiting for him, he intentionally misses his flight to spend it with his student, lying to Catherine about missing the plane by a mere minute. Catherine notices a picture on David's phone of him and a student the night before. Giving him the chance to confess, she already feels as if her world has been taken away. He does not confess, and thus are introduced to Chloe. Ms. Moore's portrayal of Catherine seemed to have the most depth behind it without dipping into the melodrama which is at the center of this film. She hires Chloe to seduce David, seeing if he takes the bait. When Chloe reports back, with explicit sexual detail, Catherine's life begins to fall apart. Her son Max has no respect for her and sleeps with his girlfriend in the house, continuously shutting Catherine out of his life. Soon the curiosity turns to obsession and this is exactly the part of the film that, I believe, led to its negative reviews. Up until this point, the plot was intriguing, the actors interesting, even the score was haunting. When Chloe becomes obsessed with Catherine, the audience is aware of her vulnerability and that she is capable of more than just boiling a rabbit. Slow motion shots, a graphic sex scene between Ms. Moore and Ms. Seyfried and dialogue that becomes painful to listen to are only a fraction of why the second half of this movie made you wish it was, infact, on Cinemax.

Praise goes the actors, as it usually does, to pull off something not quite as mainstream as "Chloe." Ms. Moore is known for her vibrant, sexy roles, in which she takes pride in and we take pride in watching. Here, she is on the reverse. She becomes someone discovering a part of desire that is brought out for reasons that remain unclear. Through the film, she remains harried and distressed. For a brief moment, we can understand what makes her jealousy become confused with attraction and impishness.

Ms. Seyfried has held movies together in the past with grace. Here, she repeats this until the "climax" of the film. Having played Chloe with a brilliant isolation, childlike nature and a soft-spokenness that lets us see inside her. It lets us imagine her thoughts instead of her being portrayed as someone falling for a "client." She seems in love at times, doing her job and reporting home. The problem? She's so innocent, it feels as a daughter spying and reporting back to her mother, who she then falls into an obsession with.

Ms. Seyfried's nudity which has been the debate since a scene of the two women kissing was leaked on the internet will draw people in. The story, as its being represented in reviews, will also draw people in. Mr. Neeson gives a wonderful performance here. Watch for a scene in a cafe that becomes chilling for all three actors when a twist is revealed. And once again, therein lies the sole problem with Chloe. These wonderful actors gain our attention and interest but to a story being told that is entirely predictable, line to line, point to point. Though a remake, the source of the entertainment here comes out to shock value. We are shocked to see Ms. Seyfried in such a sexually explicit role that it lends a recollection back to Dakota Fanning's horrifying scene in "Hounddog". The film maintains humor at times which is a welcome release. "Chloe", in the end, is THAT movie. It's the movie you cannot separate the audience's laughter from being genuine or ridiculing.

Beautiful cinematography, which Egoyan is known for and a haunting score will keep you in your seats until the end. And those interested in seeing "the chick from Big Love" bare it all will surely be in attendance. Going into "Chloe", someone told me to go in expecting trash and to come out with your own opinion. "Chloe" is not trash. "Chloe" is not a breakthrough or even engaging enough to call "good." It is, however, one film that willingly and forcefully reaffirms that sex on screen in Hollywood is continuing to be used as a promotional device instead of a creative one.