spectacular film, one of those rare. Elegant, disturbing, particularly at times ham. To avoid wasting time, I decided to republish a review for Lenny It r or that I agree entirely.
Aronofsky has the merit of originality and solipsism, to pursue projects that appear every time regardless of criticism and praise, and the search for a personal journey easy to label or a recognizable stylistic.
every movie is a surprise, but despite its thin production begins to show a recurring theme, that of research (psychopathology) della perfezione, affrontato da prospettive inattese.
“Black swan” potrebbe essere descritto come la versione lisergica de “La pianista”, ambientato nel mondo della danza classica, una miscela virata al dark di un paradigma classico di nevrosi che non segue le orme gelide di Haneke, ma quelle del perturbante e dell’inconscio.
La trama è un gioco a carte scoperte, versione moderna della storia de “Il lago dei cigni”, con qualche rimembranza di “Eva contro Eva”, costruita in modo preciso e circolare, lasciando poco margine per colpi di scena; tuttavia il regista sceglie di disorientarci e imposta la pellicola come un sogno lucido, lasciando irrompere l’allucinazione nella reality. The admixture
distressing visual that is created, the dialectic of hysterical characters (the overprotective mother, the choreographer who seduces Lucifer, the uninhibited companion free sexual urges, dark mirror represented by Winona Ryder that reflects the risk of its failure) and sexuality explicitly represented (harassment, lesbianism), drag the viewer into a spiral of tension.
The climax of anxiety grows gradually until the showdown, when it hangs by a sense of impending tragedy, a tightrope between success and the dominance of the white swan black swan, after sequences of self-harm, violence and physical changes likely to increase confusion and discomfort, symbolic and readable, the efficacy and safety of unpleasantness.
"Black Swan" is a mental, not forced and similar examples of elliptical, and this is the core of rational construction, within a framework of madness, lies the element (ironically) that makes the film so tragic predictable on the one hand, connected to the greatest examples of tragedy and cynicism as the aforementioned "All About Eve" and "Sunset Boulevard".
One additional note is a must for the cast, perfect supporting roles in the classics (Barbara Hershey, always a step in dall'esplodere cries, Vincent Cassel, almost unsurpassed in its sullen sensuality, Mila Kunis, premiata al Festival di Venezia; l’autodistruttiva Winona Ryder), su cui svetta la complessa e camaleontica interpretazione di Natalie Portman, innocente, quanto mostruosa.
La colonna sonora è del fidato Clint Mansell, che si diverte a manipolare brani classici.
