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Enchanted Nina the dancer's most serious opera in New York. A good student as pure as snow in a double button coat wise, in a pink room with stuffed animals treated of Swan Lake . Theme insidious arises from a music box like the ringing of a mobile.
One day, a happy lot is cast as Nina. The choreographer Leroy Thomas chose her to dance the principal role of the legendary ballet by Pyotr Ilyich Tchaikovsky. A trash where the princess aka the white swan will fight to the death his alter ego, aka the Black Swan Witch.
Nina and the world of dance
Natalie Portman
If Nina exudes the purity of an angel, it seems a thousand miles from the evil demon. To achieve remove the animal from the guts of his heroine, to transform a virgin in satiated artist, Darren Aronofsky brings together the best of his four previous films: the psychological thriller Pi drift perception Requiem for a Dream , the inner struggle to achieve the grace of The Fountain and skin battered by the art of representation The Westler of .
Skins wrecked
Ellen Burstyn in Requiem for a Dream (2000)
Mickey Rourke in The Westler (2008)
Since its inception, the filmmaker has never turned his back with his camera. This is his slightest defect ... His fifth film could brush against the Grand Guignol if Aronofsky the director had simply shoot a wolf werewolf story to thrill in a tutu. Fortunately, Darren movie lovers grabbed a bunch of broken mirrors, sharp and bloody hoisted Black Swan works in the pantheon of the wildest, most dense ever shot on dance: The Red Shoes Michael Powell and Emeric Pressburger and All That Jazz Bob Foss.
Moira Shearer The Red Shoes (1948) Rod Steiger
All that jazz (1979)
Between the translucent skin of Natalie Portman and the paint needed for the artifice of the performing arts, reads the ephemeral career of a ballerina and a movie actress. This fight against time is intensified by the thirst of ambition Black Swan packs , turns its space-time in an escalation of false connections to incandescence of its climax.
Many mirrors punctuate the frenzy of the film. Symbols of narcissism and the quest itself, they reflect the beautiful picture of Nina, but when the ice deform, split up, go out of tune movements of the dancer, they betray the dismantling of his mind.
A mirror hangs on the wall opposite
She did not think the mirror but think
Søren Aabye
Kierkegaard
In this game / I labyrinthine appearances, glide reflections of a few large Crimea of cinema. Unchangeable creatures on stage, backstage vulnerable: Bette Davis Eve by Joseph L. Mankiewicz, Judy Garland in A Star is Born George Cukor, Gena Rowlands in Opening Night John Cassavetes, Romy Schneider in L'important c'est d' love Andrzej Zulawski and, more broadly social, Glenn Close in Dangerous Liaisons Stephen Frears.
"Mirror, tell me if I'm still ... "
Bette Davis, Judy Garland
Natalie Portman
Gena Rowlands, Romy Schneider
To swallow Nina neuroses in this abyss where desire reveals the emergence of trauma, Danarofsky inspired by the heroines of her favorite filmmaker Roman Polanski.
If the thinness of Nina refers to the bloodless pallor of Mia Farrow in Rosemary's Baby , the young star is above all the twin Carol, manicure deadly interpreted by Catherine Deneuve in Repulsion . Smooth and soft in appearance. Deep, frigid and paranoid.
In Black Swan , the skin of the dancer is so tense, so bruised by the quest for perfection that he is condemned to be torn to drain the monstrous ego of the star .
Iris polanskiens
Catherine Deneuve in Repulsion (1965)
Mia Farrow Rosemary's Baby (1968)
A women's affair
The protagonist of Black Swan is Nina, but art. Like an insect vampire, he glues that all the characters in a single canvas hysterical women see men as pigs. Each clay enters the mind of the young girl with phallus substitutes. Just like the masseuse who sticks his fingers so deep in the solar plexus of the dancer.
To adapt the novel by Andres Heinz, writers Mark Heyman and John McLaughlin have tempered the figures of this drama in the mythology of fairy tales. Timeless narrative space where heroes become archetypes.
The subtle choice of the cast to play the mother, model, and double the midwife sick swan, intensifies the interpretations of this spider's web:
Barbara Hershey in The influence (1982)
Barbara Hershey, actress light in the 1980s, knows the horror Frailty in Sidney J. Fury as an energy supernatural takes home first, then his body.
as if Aronofsky remembered the series of rapes exercised by an invisible force, it shows men Erica disgusted, saddened head to foot with long raven hair that dry her face.
Carrie's mother to dance with the Devil Brian de Palma, the Witch and the Wicked Queen from Snow White by Walt Disney sketched seem to surround him with their train of jealousy and frustration.
Touching maternal
Barbara Hershey & Natalie Portman
Piper Laurie Sissy Spacek & Carrie in (1976)
former dancer never out of place, Erica is a mother "incestuous". She pushes her daughter to hang on the wings for landing the role of a swan, but does not hesitate to cut corners by cutting the nails of acrimony with Nina to the blood.
Interference This progenitor becomes terrifying in the scene of the cake. Nina the ugly duckling is chosen to embody the majestic bird. Erica exults, buys a "kitcherie" sweetened with pastel roses that open onto a ballerina. A huge cake in which Nina sees a mountain of calories. The girl refuses to taste it. The mother, upset the guilty with fake tears. Nina capitulated. The euphoria of Erica back pronto. In an eager smile, the mother tending to her daughter a finger stained with white cream. The child ends up sucking. Somewhat disoriented by what seemed to fellatio.
Winona, the great love of Dracula
Winona Ryder during the nineties, this beautiful romantic libido of more unrest. She lets herself be caressed by the knife blades of Edward Scissorhands Tim Burton offers his swan neck the fangs of Dracula Francis Ford Coppola. Then the offender lives and chaotic choice of actress gradually tarnish his prestige.
With a touch of perversity, Aronofsky's invite to play almost cameo Beth Macintyre. A fallen star, angry, alcoholic and suicidal. Like Frederic Andrei in Diva Jean-Jacques Beineix, Nina can not help but get into the diva's dressing room. Take place in the lair of consecration where Beth's face on the poster of his final show, his successor seems to look with disdain.
Natalie Portman Winona Ryder &
Nina, his hands trembling, steals some intimate objects of his model. Among them, a tube of lipstick. The girl tested immediately in the excitement of the forbidden. A few sequences later, Nina brandished the stick into a weapon of conquest for the role of a swan. Masked outrageously, she bites at her lips blood choreographer to achieve its goals / artistic appetites. It is thanks to the momentum of impulsivity that Thomas Leroy sees fierce ambition of the beast lurking in the depths of the beautiful. Nina has although the makings of a prima ballerina.
Mila Kunis & Natalie Portman
Mila Kunis d Ukrainian origin represents Lilly, the dark double of Nina. Aronofsky does not oppose the white swan black swan, he prefers to do his eclipse. Nina is a moon that captures light in the shadow of others. Lilly's solar lights every moment life with a sexy voice squeal when grains of sand. If Lilly dance worse than Nina, she moves more true. His laughter resonate louder. His hands are pressed on the penis and testicles of the dancers cast in their pantyhose. Sliding her panties under her evening gown when she wants to pee. With its two large wings gothic tattooed on his back, Lilly invades the whole space. Until mental Nina.
The Fairies Charles Perrault Dead Ringers by David Cronenberg, the theme of doubles, twins real or imagined, lies about it romance through the adversity of his suit.
The threesome with twins
Jeremy Irons Genevieve Bujold &
Dead Ringers ( 1988)
Nina loves and hates having Lilly in the skin. Cunnilingus between two women in the protagonist triggers a visceral reaction. Fantastic expression his discharge. A spooky travels moving his whole body. Lilly's hair covering her sex. Above this forest pubic who cannibalize, Nina sees feathers tattooed animated. Their movement mesmerizes his narcissism, the envelope, intoxicated, dominates the front of the stifle terrified.
With its winged metaphors, this sequence sapphic close to that of The Hunger Tony Scott as Catherine Deneuve Susan Sarandon vampirizes, makes available the wishful thinking of Alfred de Musset: two beings who love an angel on earth are in the sky. The poet does not specify whether the mixture of fluids is appolinien or dionysiac kindred!
The animal: that obscure object of desire
Natalie Portman & Vincent Cassel
Josette Day and Jean Marais in Beauty and the Beast (1946)
"Do you find her horny? Do you sleep with this girl? 'Says Thomas Leroy partner Nina during a rehearsal. The girl is mortified. The dancer relegated to figuration in the film, disappears quickly from the scene. The choreographer and Nina return to the figures. Leroy plate with one hand on the thigh white Nina. His fingers close like greenhouses. Her other hand grasps the sex of her interpreter. Thomas Press Box crotch to react the black swan which is struggling to emerge.
man deemed "to women" does not really love them. He once broke the heart of Beth Macintyre, but has no sexual attraction to Nina. Its sole purpose: to tear the dark side of the bowels of this white goose. To achieve this, it operates with sadism hot and cold. Suggests to the girl priapic instincts immediately cooled by the inflexibility of a heart of ice.
only male figure in the film, Thomas Leroy, however peripheral to the psychological deflowering of heroin. Despite his manly charisma to Blue Beard, Leroy is a midwife in Black Swan . When Thomas looks at the body of Nina extended to the end of the performance, he did not kiss to save her as a prince charming. The midwife of genius only see the sweat and blood flowing from the underbelly of the star released from her black swan.
Vincent Cassel between cannibal prince and
Jean Marais in Beauty and the Beast (1946)
Burt Lancaster Island of Doctor Moreau (1977)
The choice of Vincent Cassel is obvious. The actor physically imperial legacy of Jean Marais and Burt Lancaster. Two models ambiguous ASSUMED their homosexuality with bestiality and their city on the screen. The first in Beauty and the Beast Jean Cocteau, the second in The Island of Doctor Moreau Don Taylor. With an eagle's head resting on a lion's body, Leroy Thomas not breathing. It smells like a predator repressed animality of Nina, but never experience a feeling of suspicion.
And the mirror broke
the radius of the similarities, Natalie Portman could well be the Israeli-American girl Carole Bouquet. Same star status recognized the role that the quest become world's largest stars. Even beautiful classical physics a bit inevitable, but without the hint of mysterious energy that multiplies the brightness of light.
Since Leon Luc Besson in 1994, Portman has made her lines with George Lucas (Star Wars ) and Tim Burton (Mars Attacks !) was heated with Mike Nichols (Closer among adults consenting ) and Wong Kar-Wai (My Blueberry Nights ). It achieved excellence with the first sequence Free Zone by Amos Gitai and the short film Mansion, a magnificent prologue The Darjeeling Limited Wes Anderson .
Mother and daughter movie
Carole Bouquet by Douglas Kirkland
Natalie Portman
With Black Swan , actress meets a role in psychiatric gold combines "disturbed" the character of Erika in The Piano Mickael Haneke to "rabid" Irena, the protagonist of The Feline by Jacques Tourneur. Nina is part of this marriage in the tradition of heroines sacrificed on the altar of Eros and Thanatos. Victims to shreds. Mutilated women. Mutant creatures.
From the deranged madman
I sabelle Huppert Pianist (2000)
Natalie Portman
Simone Simon in The feline (1942)
From the sequence where the first feather-shaped shards pierce the skin of Nina, Natalie is transformed into Black Swan, and becomes The Portman.
As Lewis Carroll's Alice, she jumps in satin slippers in a big hole, falls, falls, explodes the mirrors to cross, but always end up against the wall. Nina then leaps, runs, gets lost in the endless corridors. Labyrinth stained graffiti where old men fondle obscene giggle crusts painted by her mother fornicate male birds with ballerinas in tutus offered. Nina panics, twirls, swirls, is sucked by false connections that the breaking up, break it at home hallucinations photographed in a dark almost big grain by Matthew Libatique.
"The red and black he does not marry ..."
Jacques Brel
But the hour of arrival on the scene has come. The lair of metamorphosis Nina sucks. The artificial lights the fire Crame. Between star and wild dance. Trance dance. And the flesh of the black swan tears. Transcendence. And two huge wings devour her arms. Climax. Climactic, orgasmic. You know, when the sheep and wolves howl in the lower abdomen to propel us towards the whole heaven before the dazzle of the crash.
The score of Swan Lake reveals the torment of Pyotr Ilyich Tchaikovsky , ashamed of his homosexuality. As Prince Siegfried in the ballet, the female loves him banned. The hero can not make love with the white swan, symbol of purity. This act is contrary to human laws.
At its inception in 1877 in Moscow, Swan Lake met with a resounding failure. The composer as an interpreter divine curse.
The last look in the mirror
Rudolf Nureyev by John Bryson
In 1984, Rudolf Nureyev sign for the Paris Opera a version of Freudian Swan Lake. He said then:
"This ballet means for me a long nurtured dream of Prince Siegfried reading romantic who exalted his desire infinity. It denies the reality of power and marriage imposed upon him his teacher and his mother. To escape the fate that he prepares, he brought in his life the vision of the lake, this "elsewhere" to which he aspires. An idealized love is born in his mind with the ban he represents. The white swan is the untouchable woman, the black swan is the mirror image. And when the dream fades, the reason the prince can not survive. .
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