Trigger Warnings: horror, psychosexual, mentions of alcohol, mentions of blood and gore
Darren Aronofsky’s 2010 psychological horror film, Black Swan, depicts dedicated ballerina Nina Sayers (Natalie Portman) attempting to embody the lead role of Tchaikovsky’s Swan Lake. Timid, shy and still strongly under the thumb of her overbearing mother – the former ballerina Erica (Barbara Hershey) – Nina slowly spirals under the enormous pressure the company’s artistic director Thomas (Vincent Cassel) placed on her.
Though she is very technically skilled and a perfect fit for the delicate, innocent White Swan role, she cannot convey the alluring and mysterious nature of the Black Swan. The beautiful, blithe new arrival Lily (Mila Kunis), who dances freely and brilliantly encapsulates the dark sensuality of the Black Swan, only further drives Nina to obsessively work on her role as she dances in front of mirrors throughout the movie. Portman and Kunis had previously trained for months to perfect the look and poise of professional ballerinas and it shows very clearly; that both actresses are eager and brittle and exhausted and messy all at once.
The many layers of psychosexual metaphors and thematic undertones in this film, so dense with meaning, are demonstrated most prominently through the interactions of its women. Former prima ballerina Beth MacIntyre (Winona Ryder) is a bitter alcoholic who is hospitalized following an injury to her legs. Ryder acts as a personification of Nina’s fear of replacement and the reminder of how insecure her career can be; Nina steals her lipstick to wear when approaching Thomas about the role of the swan queen.
Both actresses are eager and brittle and exhausted and messy all at once
Erica herself resents the early end to her career upon falling pregnant, so she compensates by controlling the life of her daughter, though there is implied sabotage once Nina becomes more successful than she was. Lily is a warm, sensuous co-worker whose identity is increasingly blurred with Nina’s, who is simultaneously a threat towards Nina’s position in the lead role and the target of Nina’s confused sexual attraction. Her status being everything Nina was taught to fear, prevents Nina from accepting Lily’s warnings about Thomas’ predatory nature.
Aronofsky cleverly draws out the Madonna/whore complex with this quartet, who are often surrounded by mirrors as a literal reflection of their distorted selves; Lily and Nina in particular are accentuated as one being in a striking scene where both are reflected into a mirror that only Nina is seen standing in front of. This is the only coalescing of femininity permitted: trying to separate two imposing ideals instead of accepting them as a whole of one woman. This ends up destroying Nina, who gave in to her “dark impulses” just as her idol Beth did.
The brutality that can be found in a beautiful art form is everywhere. Nina’s feet predictably look disastrous, with cracks and calluses, but pain does not escape the rest of her body. Her broken nails, scratches on her skin, weight loss and bleeding wounds are given just as much time on screen. We hear every crack and crunch of her splayed toes and rotating ankles.
A metamorphosis of maturing emotionally and artistically is made into a painful metaphor, shown most delicately during the preparation of shoes and clothes before a dance. Her physical transformation into the monstrous feminine in her final performance, a mutilation of herself after all her time spent mentally riddled with self-doubt and disgust while sublimating herself into other people, is almost expected. Thankfully, the stunning lighting and colors keep the viewer entranced. Nina spreads her wings and soars towards the end, and it does feel like a hard-earned ending she would want.
A metamorphosis of maturing emotionally and artistically is made into a painful metaphor
Tchaikovsky’s composition is a loud score throughout the film’s soundtrack, a persistent recurrence that, under the interpretation of Clint Mansell, exhilarates and terrifies the viewer in turn. During the scenes of actual dancing, the music is at its most emotionally saturated when it’s being broken up, looped, and generally twisted beyond what we would hear in a Volkswagen commercial. The result is an unsettling blend of classic and contemporary techniques, perfectly symbolizing Nina’s mental state upon her departure from her mental comfort zone in honor of her role.
Verdict
Aronofsky’s dazzling technical and artistic facilities make this deliciously grungy and propulsive narrative a frenzy that never quite dips into sensationalism. Brilliantly acted and fantastically shot, this 2010 tour de force should be a definite addition to everyone’s watchlist.
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