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.
