Identity poem

Black Swan (2010) .rvw

director: Darren Aronofsky

starring: Natalie Portman, Mila Kunis, Vincent Cassel, Winona Ryder, Sara Lane (double,real life professional ballerina)

d.p.: Matthew Libatique

Black Swan is an eyeshadow palette. That’s what’s most amusing to observe, a more explicit fact for women, maybe the film’s rendering is ambient also to the male viewer. Beth Sayers (portrayed by Natalie Portman) is a 28 year old prima ballerina in the New York tradition. Yes, the tradition of an Angelina Ballerina upbringing with its Kate Spade decor, ethics, and esteem. “Pretty!” the story opens with Portman’s gagging over a breakfast grapefruit. The sickly positivity makes viewers hesitant on commending the character’s disposition, career, her relationship with her mother - former dancer and now stay-at-home painter.

Beth’s dance company announces that it will be producing Swan Lake. In the movie’s version of the classic ballet, the White Swan and Black Swan are to be presented by the same performer. You can just feel their bellies of career ambition. Every dancer for his or herself, you can’t wonder why people in the industry are limbically like that. Somewhere here we meet the supporting cast: Vincent Cassel as the mal, prerogative instructor; Mila Kunis’s dark Lily, the beige to Sayers’ clean cream, but it’s really Winona Ryder as Beth who deserves the designation of absolute black. My favorite casting, like adding an ice cube that the drink of the chorus just needed. Sayers’ chastity remains spinally standing somehow despite her lipstick initiative to seduce instructor Tomás for the role of Swan Queen. She decides to back up. Tomás, however, doesn’t let her, “That’s it, you’re not gonna try and change my mind?”

When she sees that she got the role, her cries in the bathroom stall are truly oceanic for the muted reason that her happiness is an engrossment. She exits and finds that the mirror is graffitied with the word WHORE in one of the more memorable scenes. The rest of the movie is spent lurking, stalking, sometimes chasing Sayers in camera movements imitating Rothbart, the antagonist in Tchaikovsky’s original story.

The writers managed to develop a believable case of Obsessive Compulsive Personality Disorder. Beth displays an adolescent, ebbing menstrual urge to be free, independent, and earn the respect of the formidable Black Swan. The movie has a motif of sharpness - Portman’s visage, mirror and glass imagery, tippy toe pirouettes. All this snowballs to the premiere, where at the end Beth, leaping to a fictional death as the White Swan, also commits a very real suicide. Curtain call.

♫ sweet girl sweet girl ♭

lingering comments:

fav song: Tchaikovsky Swan Lake Op.20 TH.12/ Act 2 - No. 13b, Danse des Cygnes: Odette Solo

worst scare: there’s something about cutting her nails and touching herself that makes me eek! Anyone else on board with that?

filmy: I wonder if the Nordic backdrops onstage were Aronofsky’s nod to Bergman.

Black Swan (2010) .rvw

director: Darren Aronofsky

starring: Natalie Portman, Mila Kunis, Vincent Cassel, Winona Ryder, Sara Lane (double,real life professional ballerina)

d.p.: Matthew Libatique

Black Swan is an eyeshadow palette. That’s what’s most amusing to observe, a more explicit fact for women, maybe the film’s rendering is ambient also to the male viewer. Beth Sayers (portrayed by Natalie Portman) is a 28 year old prima ballerina in the New York tradition. Yes, the tradition of an Angelina Ballerina upbringing with its Kate Spade decor, ethics, and esteem. “Pretty!” the story opens with Portman’s gagging over a breakfast grapefruit. The sickly positivity makes viewers hesitant on commending the character’s disposition, career, her relationship with her mother - former dancer and now stay-at-home painter.

Beth’s dance company announces that it will be producing Swan Lake. In the movie’s version of the classic ballet, the White Swan and Black Swan are to be presented by the same performer. You can just feel their bellies of career ambition. Every dancer for his or herself, you can’t wonder why people in the industry are limbically like that. Somewhere here we meet the supporting cast: Vincent Cassel as the mal, prerogative instructor; Mila Kunis’s dark Lily, the beige to Sayers’ clean cream, but it’s really Winona Ryder as Beth who deserves the designation of absolute black. My favorite casting, like adding an ice cube that the drink of the chorus just needed. Sayers’ chastity remains spinally standing somehow despite her lipstick initiative to seduce instructor Tomás for the role of Swan Queen. She decides to back up. Tomás, however, doesn’t let her, “That’s it, you’re not gonna try and change my mind?”

When she sees that she got the role, her cries in the bathroom stall are truly oceanic for the muted reason that her happiness is an engrossment. She exits and finds that the mirror is graffitied with the word WHORE in one of the more memorable scenes. The rest of the movie is spent lurking, stalking, sometimes chasing Sayers in camera movements imitating Rothbart, the antagonist in Tchaikovsky’s original story.

The writers managed to develop a believable case of Obsessive Compulsive Personality Disorder. Beth displays an adolescent, ebbing menstrual urge to be free, independent, and earn the respect of the formidable Black Swan. The movie has a motif of sharpness - Portman’s visage, mirror and glass imagery, tippy toe pirouettes. All this snowballs to the premiere, where at the end Beth, leaping to a fictional death as the White Swan, also commits a very real suicide. Curtain call.

♫ sweet girl sweet girl ♭

lingering comments:

fav song: Tchaikovsky Swan Lake Op.20 TH.12/ Act 2 - No. 13b, Danse des Cygnes: Odette Solo

worst scare: there’s something about cutting her nails and touching herself that makes me eek! Anyone else on board with that?

filmy: I wonder if the Nordic backdrops onstage were Aronofsky’s nod to Bergman.