Here is a film that, in all honesty, I underestimated a lot.
There have been served up so many films about dancers and dancers of all types and sauces that when I got to the first time the trailer for The Black Swan I have slightly crooked nose. Then, curiosity and love for the work of Chajkovsky have prevailed, and I knew I had been wrong with my hasty judgments.
The Black Swan is not a film about dance. The dance in the film by Darren Aronofsky, is rather a pretext, a background to put on something more profound and disturbing: an obsession with perfection and the double evil hidden in everyone.
Nina Sayers is a talented dancer of the New York City Ballet who aspires to play a leading role in an important show. Throughout his life he worked hard, and requires stringent discipline, exhausting their physical and subjecting them to grueling training in the absurd attempt to achieve absolute perfection. Yet, as the point to its own dance teacher during a discussion Leroy Thomas, perfection can not be achieved only with training, it also takes heart, and that's what Nina is missing. Made unhappy by a life of deprivation, with an authoritarian and oppressive mother, which she projects onto the failure of his career in ballet, Nina is sexually frustrated and repressed emotions, rigid and unable to let go.
When Leroy assign the role to the much longed lead in Swan Lake, Nina will jump into a nightmare dictated by their fragility and obsessions: perfect to play the white swan, white and naive, totally unsuited to play the Black Swan, sensual and uninhibited, Nina will surface in the agonizing fear of being take away the coveted role of Lily, a new dancer much more loose and passionate, and it will float its terrifying double, his black soul.
Darren Aronofsky gives us such a masterpiece of texture and images, with attention to every detail, every small detail.
And if it is in fact twice, the main theme, the film returns us in every scene, in the form of mirrors and reflective surfaces. From the first shots Nina is split: on the subway that leads to the school dance in front of his white image, highlighted by a pastel pink coat and a soft scarf reminiscent of the white plumage of a swan, is countered by Nina reflected in the window , dark and feathers, to make us realize that Nina is not alone, that she lives in a hidden evil twin, just as in the famous ballet Chajkovsky. From this scene is a crescendo of 'double' continuously compared: in the mirrors of the test room, those in the bathroom in the dressing room, at home, on public transport, everywhere, Nina is always accompanied by its shadow.
addition to the game of reflexes, another element of great visual impact skillfully used by the director is the choice of colors: the entire film is a continuous contrast of blacks and whites, from costumes to scenery of the actors.
Nina, the good, the fragile Odette, always in light colors. Lily, the alter ego that shadow, the provocative Odile, always in dark tones, with a pair of black wings tattooed on his back.
light and dark, good and evil, salvation and damnation.
The soul of the protagonist throughout the film oscillates between these conflicting feelings, in a crescendo of fantasies and nightmares step by step that follows the dramatic story of the ballet to be staged.
And the viewer can not help but empathize with the protagonist, thanks to a clever way to literally catapult that shot in the movie: walk with Nina, we reflect with her, let her fear and her anxiety, we feel his shortness of breath while dancing, witnessing the slow and his monstrous transformation from white to Odette Odile provocative statement made by an annoying system of images that make us fall directly into the nightmare of Nina.
And just like in a nightmare, in the end we will not be able to distinguish fact from fiction.
A psychological thriller really successful. Able to create a real suspense, with peaks of sheer terror. With a photo sublime (the image simply beautiful winged shadow that looms in the background of the stage at the end of Odile Ballet), music beautiful (but could not be otherwise) of a wise symbol of ingenious tricks and directors. But most importantly, a great star, Natalie Portman, who, I must say, if they really deserve the Oscar for this part: it was able to give an incredible psychological depth to his character, perfectly demonstrating the fragility of all, all fears, torments and uncertainty that will, slowly, to bring out the most dreaded and secret self.
His only real enemy.
Final load of emotion.
Recommended, especially if you love the dance: the dance scenes bring goose bumps, and given that Natalie Portman is not even a dancer ...
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