After superior works such as Pi and Requiem for a Dream, Aronofsky did have a bout with commercialism in 2006’s The Fountain. But the Hugh Jackman vehicle proved inaccessible to the pre-programmed public and lacked real resonance with his indie roots. Aronofsky not only struggled, but struggled in an area he has always defied.
The polarizing director refused to be pushed aside and climbed off the canvas. The result was his best film to date, The Wrestler – a film that not only resurrected his career but also ignited the talented Mickey Rourke’s turnaround. An emotional tour de force outfitted with Aronofsky’s coarse sense of realism, The Wrestler was the director at the height of his skills.
Now after 2 years, Aronofsky has risen again. His new composition, Black Swan, has taken flight.
Revolving around the production of Tchaikovsky’s famous ballet Swan Lake, Aronofsky’s new production follows Nina (Natalie Portman) and her quest for the leading role. Unlike other performances of the famed ballet, the artistic director (Vincent Cassel) has elected to have one ballerina play the two parts - the White Swan and the Black Swan. Nina possess all the qualities of the White Swan but must go deeper to a darker place to find the evil Black Swan.
 |
| Many emotions surround the conflicted Nina. |
Black Swan not only pulses but pounds with psychological intensity. Nina pursues her black swan with excruciating pace culminating in an explosion of paranoia, erotica, and sheer horror. However, the picture is much more than a thriller. Just as Nina begins her metamorphosis to the dark side, the film too exposes a schizophrenic nature that baffles and confuses the sensibilities. Black Swan evolves through stages of intense drama, cutting comedy, maximum mania, and nail-biting terror. As the curtains close, the audience is left in the dark groping for stability.
Aronofsky’s scene construction is so heavily nuanced that every detail seems pivotal in fully digesting the film. From the color schemes foreshadowing character arcs to mirrors and reflections depicting the duality that lies within us all. Watch in wonder as Nina moves through this sculpted world navigating the shoals of reality.
The cast is superb with Portman delivering a raw and uninhibited performance that should most certainly garner attention come awards time. Cassel, recently heralded for his portrayal in the French Mesrine films, is also on point lending the right amounts of comedy and narcissism to his role as the artistic director. The list of acknowledgements goes on with other standout turns from veterans Barbara Hershey, Winona Rider, and dramatic newcomer Mila Kunis.
Revel in Aronofsky’s deviance and celebrate his metamorphosis as well. He has joined the new guard of visionaries with the likes of Nolan and Fincher. Up next for Aronofsky appears to be the questionable choice of the X-Men Origins sequel. Let’s hope that this second commercial concoction does not alter his promising path. But for now, we should not only respect the director he is, but cherish the director he is not.