Her life has been devoted to ballet. Was that entirely her choice? Her mother, Erica (Barbara Hershey), was a dancer once, and now dedicates her life to her daughter's career. They share a small apartment that feels sometimes like a refuge, sometimes like a cell. They hug and chatter like sisters. Something feels wrong.
Nina dances in a company at New York's Lincoln Center, ruled by the autocratic Thomas Leroy (Vincent Cassel). The reach of his ego is suggested by his current season, which will “reimage” the classics.
Having cast off his former prima ballerina and lover, Beth MacIntyre (Winona Ryder), he is now auditioning for a new lead. “Swan Lake” requires the lead to play opposite roles. Nina is clearly the best dancer for the White Swan. But Thomas finds her too “perfect” for the Black Swan. She dances with technique, not feeling.
The film seems to be unfolding along lines that can be anticipated: There's tension between Nina and Thomas, and then Lily (Mila Kunis), a new dancer, arrives from the West Coast. She is all Nina is not: bold, loose, confident. She fascinates Nina, not only as a rival but even as a role model. Lily is, among other things, a clearly sexual being, and we suspect Nina may never have been on a date, let alone slept with a man. For her, Lily presents a professional challenge and a personal rebuke.
Thomas, the beast, is well known for having affairs with his dancers. Played with intimidating arrogance by Cassel, he clearly has plans for the virginal Nina. This creates a crisis in her mind: How can she free herself from the technical perfection and sexual repression enforced by her mother, while remaining loyal to their incestuous psychological relationship?
No backstage ballet story can be seen without 'The Red Shoes' (1948) coming into mind. If you've never seen it of course eventually you will. In the character of Thomas, Aronofsky and Cassel evoke Boris Lermontov (Anton Walbrook), the impresario in that film, whose autocratic manner masks a deep possessiveness. And in Nina, there is a version of Moira Shearer's ingenue, so driven to please.
“Black Swan” will remind some viewers of Aronofsky's previous film, 'The Wrestler.' Both show singleminded professionalism in the pursuit of a career, leading to the destruction of personal lives. I was reminded also of Aronofsky's brilliant debut with 'Pi' (1998), about a man driven mad by his quest for the universal mathematical language. For that matter, his 'The Fountain' (2007) was about a man who seems to conquer time and space. Aronofsky's characters make no little plans.
The main story supports of “Black Swan” are traditional: backstage rivalry, artistic jealousy, a great work of art mirrored in the lives of those performing it. Aronofsky drifts eerily from those reliable guidelines into the mind of Nina. She begins to confuse boundaries. The film opens with a dream, and it becomes clear that her dream life is contiguous with her waking one. Aronofsky and Portman follow this fearlessly where it takes them.
Portman's performance is a revelation from this actress who was a 13-year-old charmer in 'Beautiful Girls' (1996). She has never played a character this obsessed before, and never faced a greater physical challenge (she prepared by training for 10 months). Somehow she goes over the top and yet stays in character: Even at the extremes, you don't catch her acting. The other actors are like dance partners holding her aloft. Barbara Hershey provides a perfectly calibrated performance as a mother whose love is real, whose shortcomings are not signaled, whose own perfectionism has all been focused on the creation of her daughter.
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The tragedy of Nina, and of many young performers and athletes, is that perfection in one area of life has led to sacrifices in many of the others. At a young age, everything becomes focused on pleasing someone (a parent, a coach, a partner), and somehow it gets wired in that the person can never be pleased. One becomes perfect in every area except for life itself.
It's traditional in many ballet-based dramas for a summing-up to take place in a bravura third act. “Black Swan” has a beauty. All of the themes of the music and life, all of the parallels of story and ballet, all of the confusion of reality and dream come together in a grand exhilaration of towering passion. There is really only one place this can take us, and it does. If I were you, I wouldn't spend too much time trying to figure out exactly what happens in practical terms. Lots of people had doubts about the end of 'The Red Shoes,' too. They were wrong, but they did.
A witchy brew of madness and cunning, tells the story of a ballerina who aches, with battered feet and an increasingly crowded head, to break out of the corps. Played by in a smashing, bruising, wholly committed performance, the young dancer, Nina, looks more like a child than a woman, her flesh as undernourished as her mind. When she goes to bed at night, a nearby jewelry box tinkling a crowd of stuffed animals watches over her, longtime companions that — as Nina and this dementedly entertaining film grow more unhinged — begin to look more like jailers than friends.
Crammed with twins — lookalikes, mirrored images, doppelgängers — the story follows that of the “Swan Lake” ballet in broad, gradually warped strokes. It opens with the artistic director of a fictional New York ballet company, Thomas (Vincent Cassel), announcing that the new season will begin with a “visceral and real” version of that old favorite. To that end he dumps his prima ballerina, Beth (Winona Ryder), and picks Nina to dance the dual role of the swan queen (an enchanted woman in bird form) and her villainous black twin. But as the pressure builds, things fall apart, or Nina does. She stumbles out of a spin and begins scratching at her skin. One day she strips a piece from her finger as lightly as if she were peeling a banana.
Part tortured-artist drama, “Black Swan” looks like a tony art-house entertainment. (Hey, there’s Lincoln Center!) But what gives it a jolt is its giddy, sometimes sleazy exploitation-cinema savvy. The director is a well-schooled cinéaste, and in “Black Swan” he riffs on Michael Powell and Emeric Pressburger’s ballet masterpiece, and the pair’s among other influences. But it’s also likely that Mr. Aronofsky, who was born in 1969 and grew up in Brooklyn, frequented Times Square when it was known as the deuce and lined with movie palaces playing the best and worst in trash cinema. I bet he also caught a few episodes of the on cable.
That isn’t a knock. One of the pleasures of “Black Swan” is its lack of reverence toward the rarefied world of ballet, which to outsiders can look as lively as a crypt. Mr. Aronofsky makes this world (or his version of it) exciting partly by pulling back the velvet curtains and showing you the sacrifices and crushingly hard work that goes into creating beautiful dances. Nina doesn’t just pirouette prettily, she also cracks her damaged toes (the sound design picking up every crackle and crunch) and sticks her fingers down her throat to vomit up her food. Mostly, though, she trains hard, hammering her toe shoes into floor much as Jake La Motta pounded his fists into flesh. She’s a contender, but also a martyr to her art.
Mr. Aronofsky is happy to see her bleed. A filmmaker who likes to play around with genre while mixing the highbrow with the lowdown and dirty, he has built a small, vivid catalog by exploring human extremes with wildly uneven degrees of visual wow, sensitivity and intelligence. He trawled the lower depths in “Requiem for a Dream” and struggled to scale the metaphysical heights with a fable about eternal (as in, when will it end?) love. For his previous movie, he proved his commercial smarts by taking Mickey Rourke out of deep freeze and dusting off a comeback story that was old when Wallace Beery wiped Jackie Cooper’s runny nose with the script for
Continue reading the main story“Black Swan,” by contrast, surprises despite its lusty or rather sluttish predilection for clichés, which include the requisitely demanding impresario (Mr. Cassel makes a model cock of the walk) and Nina’s ballerina rival, Lily (Mila Kunis, as a succulent, borderline rancid peach). But, oh, what Mr. Aronofsky does with those clichés, which he embraces, exploits and, by a squeak, finally transcends.
Such is his faith in his ability to surmount the obvious (and the lethally blunt) that he turns Nina’s mother, Erica (a terrific Barbara Hershey), into a smother-mother who out-crazies Faye Dunaway’s Joan Crawford in the mommy dearest department. You don’t know whether to laugh or shriek (both are reasonable responses), and it is this uncertainty and at times delicious unease that proves to be Mr. Aronofsky’s sweet spot.
It’s easy to read “Black Swan” as a gloss on the artistic pursuit of the ideal. But take another look, and you see that Mr. Aronofsky is simultaneously telling that story straight, playing with the suffering-artist stereotype and having his nasty way with Nina, burdening her with trippy psychodrama and letting her run wild in a sexcapade that will soon be in heavy rotation on the Web. The screenplay, by Mark Heyman, Andrés Heinz and John McLaughlin, invites pop-psychological interpretations about women who self-mutilate while striving for their perfect selves, a description that seems to fit Nina. But such a reading only flattens a film that from scene to scene is deadly serious, downright goofy and by turns shocking, funny and touching.
With “Black Swan” Mr. Aronofsky has found a surprisingly accommodating vehicle for his preoccupations, including bodies in pain, and his ever more refined technique. Here, working with his usual cinematographer, Matthew Libatique, and largely shooting hand-held in both super-16-millimeter film and digital, Mr. Aronofsky opts for grit over gloss, an ideal strategy for a story with a harsh underbelly. Hand-held cinematography can be lazy shorthand for “reality” (as if life happens in shaky-cam), but here the hand-held visuals work because of their intimacy. The influence of the Belgian filmmakers Jean-Pierre and Luc Dardenne can be seen in the close, tag-along shots of Nina’s head as she hurries off, a point of view that brings you within breathing, at times panting, distance of a character whose behavior can be off-putting.
Though it had its moments, “The Wrestler” felt like the work of a director who, after proving his street bona fides and bombing at the box office, decided to try some pandering. It worked: Mr. Rourke was rediscovered, and Mr. Aronofsky’s future was salvaged, in part because he had closed the distance between the fallen star played by Mr. Rourke and the one he himself had become. Ms. Portman’s performance in “Black Swan” is more art than autobiography, and as a consequence more honest, but because it’s so demandingly physical the lines that usually divide actresses from their characters are also blurred. This is, after all, Ms. Portman’s own thin body on display, her jutting chest bones as sharply defined as a picket fence.
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Although Mr. Aronofsky focuses on her head, shoulders and arms, mostly avoiding long shots that might betray a lack of technique, Ms. Portman does most of her own dancing (and plausibly, at least to this ballet naïf). The vision of Ms. Portman’s own body straining with so much tremulous, tremendous effort, her pale arms fluttering in desperation, grounds the story in the real, as do the totemic Lincoln Center buildings, the clattering subway and the grubby, claustrophobic apartment Nina shares with her mother. Together they create the solid foundation of truth that makes the slow-creeping hallucinatory flights of fantasy all the more jolting and powerful. Much like the new version of “Swan Lake” that Thomas creates, “Black Swan” is visceral and real even while it’s one delirious, phantasmagoric freakout.
“Black Swan” is rated R (Under 17 requires accompanying parent or adult guardian). Bedroom gymnastics and graphic violence.
BLACK SWAN
Opens on Friday in New York, Boston, Chicago, Dallas and Plano, Tex., San Franciso, Washington and Los Angeles.
Directed by ; written by Mark Heyman, Andrés Heinz and John McLaughlin, based on a story by Mr. Heinz; director of photography, Matthew Libatique; edited by Andrew Weisblum; music by Clint Mansell; ballet choreography by Benjamin Millepied; production design by Thérèse DePrez; costumes by Amy Westcott, ballet costumes by Kate and Laura Mulleavy of Rodarte; produced by Mike Medavoy, Arnold W. Messer, Brian Oliver and Scott Franklin; released by Fox Searchlight Pictures. Running time: 1 hour 50 minutes.
WITH: (Nina Sayers/the Swan Queen), Vincent Cassel (Thomas Leroy/the Gentleman), Mila Kunis (Lily/the Black Swan), Barbara Hershey (Erica Sayers/the Queen) and Winona Ryder (Beth Macintyre/the Dying Swan).
Black Swan
DirectorDarren Aronofsky
Tamil movie download single part 2017. WritersMark Heyman, Andres Heinz, John J. McLaughlin
StarsNatalie Portman, Mila Kunis, Vincent Cassel, Winona Ryder
RatingR
Running Time1h 48m
GenresDrama, Thriller
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Last updated: Nov 2, 2017
Top 10 pokemon rom hacks. A listing of credits and schedule information on Friday with a film review about “Black Swan” omitted six cities in the United States in which the movie opened that day. In addition to New York and Los Angeles, it also opened in Boston, Chicago, Dallas and Plano, Tex., San Francisco and Washington.
Synopsis
Nina (Portman) is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica (Hershey) who exerts a suffocating control over her. When artistic director Thomas Leroy (Cassel) decides to replace prima ballerina Beth MacIntyre (Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well. Swan Lake requires a dancer who can play both the White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan. As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side - a recklessness that threatens to destroy her.
Director :
Writer :
Mark Heyman (screenplay), Andres Heinz (screenplay), John J. McLaughlin (screenplay), Andres Heinz (story)
Actors :
Keywords :
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- 17+
- 85%
- HD
- CC
- AD
- 1 Hour 48 Minutes
A psychological thriller set in the world of New York City Ballet, BLACK SWAN stars Natalie Portman as Nina, a featured dancer who finds herself locked in a web of competitive intrigue with a new rival at the company (Mila Kunis). The film takes a thrilling and at times terrifying journey through the psyche of a young ballerina whose starring role as the duplicitous swan queen turns out to be a part for which she becomes frighteningly perfect. BLACK SWAN is the Academy Award® winner for Best Actress, Natalie Portman, and was nominated for 4 more Academy Awards® including Best Picture, and Best Director Darren Aronofsky.
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- Buy $14.99
A psychological thriller set in the world of New York City Ballet, BLACK SWAN stars Natalie Portman as Nina, a featured dancer who finds herself locked in a web of competitive intrigue with a new rival at the company (Mila Kunis). The film takes a thrilling and at times terrifying journey through the psyche of a young ballerina whose starring role as the duplicitous swan queen turns out to be a part for which she becomes frighteningly perfect. BLACK SWAN is the Academy Award® winner for Best Actress, Natalie Portman, and was nominated for 4 more Academy Awards® including Best Picture, and Best Director Darren Aronofsky.
- Rent $3.99
- Buy $14.99
Ratings and Reviews
Critics Consensus:Bracingly intense, passionate, and wildly melodramatic, Black Swan glides on Darren Aronofsky's bold direction -- and a bravura performance from Natalie Portman.
Magnificent, macabre thriller too intense for young teens.
Cast & Crew
- Cast
- Natalie Portman
- Vincent Cassel
- Mila Kunis
- Barbara Hershey
- Winona Ryder
- Director
- Darren Aronofsky