Writer(s): Mark Heyman/Andres Heinz/John McLaughlin
Production Co.: Fox Searchlight Pictures
Year of Release: 2010
I just got home from seeing this thing and I feel like writing about it. On paper this film could be taken any number of ways, and as apprehensive as I was (and will continue to be) about Aronofsky, I'm glad to say he's produced a good piece of work here. Very strongly reminiscent of earlier Polanski films such as Rosemary's Baby or Repulsion, with a bold mix of Kubrick gothica, Aronofsky wears his influences on his sleeve with this one. It's dark, abrasive, operatic, and generally over-the-top. The plot itself is quite predictable as anyone would have guessed, however it's the rather intriguing manner in which it unfolds which makes this film so watchable. The atmosphere oozes with a rich pallet of demoniac colors, and yes, Portman's performance is exceptional. The film strikes with such a deadly impact it becomes hard to blink, it is flamboyant, and it is evil. It is overall risky. However it is with such boisterous risks that the film hurts itself most, I'm speaking of one thing, and one thing in particular. CGI. The bane of cinema's existence. The CGI completely took away from the reality of the situation and made it that much more predictable. Imagine if you saw Rosemary's Baby for the first time, were absolutely inthralled and riveted as the rest of the world, only to discover (SPOILER ALERT) an uninteresting-looking CGI Demon baby in the crib at the end of the film. (END SPOILER) It was a very large, very intriguing build-up, for a rather ridiculous payoff. Although I suppose it does compliment the film's over-the-top, operatic nature. However it does counter it's delicate ambiance. Although, I still find myself with that feeling that I just saw something incredible unfold before me. The score, cinematography and sound design were very much standouts for me, and the film drew me in so tight I eventually felt I had to start putting effort into breathing. And if there were an award for best opening scene, I would have to give it up for this film. Given it's rather large flaw, Black Swan does still feel like an artist tapping into something divine, continually progressing towards the creation of a masterpiece, and although we may not have it yet, I'm quite happy sit through another 108 minutes of this again and again.
UPDATE: Actually, I'm quite disappointed in myself for this review. I guess I let a bit of Pitchfork's trigger happy praise out (sorry Pitchfork fans, but you're ridiculous). The more I think about this film, the more of a sour taste it leaves in my memory, that damned CGI was so terrible, and Aronofsky's preachy anti-drug message that was plastered all over Requiem for a Dream is also found here, in equally cringe-worthy sparks. It's a big step forward, sure, but it takes quite a few small steps back and I just don't think I can have it on my conscience to allow it's rather high 8.5 rating remain on my blog. All in all, I liked The Wrestler more...
Overall rating: 7.8
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