| Director Darren Aronofsky has become one of those directors whose every project has fans waiting with bated breath. The auteur has certainly earned such expectations with memorable works like THE WRESTLER, REQUIEM FOR A DREAM, AND PI (and I'll throw THE FOUNTAIN in there too, as I thought it quite a work). Aronofsky's latest project has come attached with no less expectation. Joined to the director's creative-hip is, once again, composer CLINT MANSELL. Collaborators since his first, full-length film, PI, the duo dive into another emotional, mind-bender with BLACK SWAN. On one had, Aronofsky's propensity to weave numerous meta-threads throughout his films usually makes CLINT MANSELL a suitable choice. Mansell's post-modern, minimalism is perfectly suited for Aronofsky's films, but would that hold true for a story based around the psychological-dance of a ballerina? Natalie Portman portrays the repressed dancer, Nina, who has long struggled to nail the lead role in one of her troupes ballets. Having finally done so, she must both battle with (and yet embrace) both inner and outer "demons." And simply performing well is not enough. She is bent on attaining perfection in the performances of the white-swan princess and the black swan alike. What is ultimately delivered on-screen, via Portman's award-worthy acting and Aronofsky's sublime direction is quite the erotic-psycho-thriller. Now, When you talk SWAN LAKE, you, of course, talk Tchaikovsky. As one might expect, his famous ... |
