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Storyline:
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.
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The basic story of the artist so wrapped up in her role she loses herself with tragic consequences is perfectly valid - Carlos Saura did it with a flamenco CARMEN in a 1983 Spanish film brilliantly. With competent writing and direction, it could make a *thrilling* film, but under Aronofsky's self indulgent, close ups (to hide his non-dancing leads), the screenplay by three separate hands lacks any revelations. Is the choreographer a monster trying to seduce the virginal Portman or merely trying to get a performance out of her? Is Portman being drugged by an ambitious rival in the corps de ballet or perhaps her own jealous mother or is she merely having a breakdown pressured from her big break and her quest for "perfection"? The director thinks we're shallow enough to confuse obscurity with sophistication or surrealism. Worst of all the final "coup de theatre" belies the "triumph" preceding it. This is merely beauty-free, failed Grand Guignol semi-leavened with inexcusable pornography.
The basic story of the artist so wrapped up in her role she loses herself with tragic consequences is perfectly valid - Carlos Saura did it with a flamenco CARMEN in a 1983 Spanish film brilliantly. With competent writing and direction, it could make a *thrilling* film, but under Aronofsky's self indulgent, close ups (to hide his non-dancing leads), the screenplay by three separate hands lacks any revelations. Is the choreographer a monster trying to seduce the virginal Portman or merely trying to get a performance out of her? Is Portman being drugged by an ambitious rival in the corps de ballet or perhaps her own jealous mother or is she merely having a breakdown pressured from her big break and her quest for "perfection"? The director thinks we're shallow enough to confuse obscurity with sophistication or surrealism. Worst of all the final "coup de theatre" belies the "triumph" preceding it. This is merely beauty-free, failed Grand Guignol semi-leavened with inexcusable pornography.