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'Black Swan'

There's a delirium that runs via "Black Swan," a perception of pressure and anguish and mad momentum, that's each exhilarating and terrifying. The tale is far from unique - in truth the movie at times appears to be a convergence of horror movie cliches colliding into a person a different. But director Darren Aronofsky ("The Wrestler," "The Fountain") guides Natalie Portman, a guaranteed Oscar nominee, by way of a singular performance that serves as a excellent middle to his wild storm of audio, dance and swirling visuals. Portman plays Nina Sayers, a brittle, emaciated and obsessed ballerina with a massive metropolis ballet who desperately needs to play the twin roles of the white and black swans in a new creation of "Swan Lake." The ballet's pompous director (Vincent Cassell) understands she can quickly master the methods needed to play the white swan, but concerns whether or not she has the true interest and seductive nature to play the evil black swan. If Nina seems a bit repressed, a great deal of it has to do with her overbearing mom (Barbara Hershey), a former ballerina whose vocation ended when she had Nina. She now lives by way of Nina, and Nina lives as a ballet nun, functioning, operating, operating at strengthening and reaching for perfection. She has turn out to be a ballet device, but to play the Black Swan she will have to reclaim her humanity. Unfortunately, a new dancer arrives, Lily (Mila Kunis), and she moves with each grace and eroticism. To indicate he is not overly involved with subtlety, Aronofsky has black wings tattooed on Lily's back. The strain is on Nina suitable from the starting, and it requires its immediate toll. She dresses largely in white, but begins seeing her deal with on females dressed in black. She tries to humanize herself, but her mom has her in such constraints that loosening up seems unattainable. A rash starts increasing on Nina's back, and then a thing appears to be increasing back again there. Could that be… a black feather? Aronofsky has a amount of movies heading on at after right here. There's the ballet competitors movie, the mad mother movie, the losing-my-thoughts movie and the Svengali movie, not to mention an fully other storyline about a suicidal, aging ballerina (Winona Ryder). But if you've seen it all before, you haven't witnessed it carried out like this, from the Cronenberg and Lynch directorial flourishes - fingers and toes turn out to be continuous objects of terror here - to the ultimate scenes that crescendo atop 1 one more as Nina truly performs "Swan Lake" in a swirl of insanity and brilliance. It's hard to make out what Aronofsky is declaring here, but he's saying it in a spectacularly deranged way that brings dance, violence, intercourse and fragility collectively to make … Art? Craziness? Beauty? It does not issue it performs. And it will work in fantastic element thanks to Portman, who has under no circumstances shown anything at all like this type of commitment to a character. She manages to make the inhuman Nina really human in fact, a dancing tragedy, grace with gravitas. She is in fact excellent. "Black Swan" isn't for absolutely everyone - it is a ballet horror movie, soon after all. But there is an ecstatic tension here that's undeniable and over and above phrases. Catch the craziness.