Black Swan (B-)

Many a time in the past year I have cringed at some graphically sexual moments in film and sayid “That was totally not necessary.” That is not the case in Black Swan. Every moment in this brilliantly crafted horror-thriller builds to its deep exploration of the makings of insanity. Still, I think everyone should all ask themselves if it is really worth it.
Black Swan centralizes around a ballerina named Nina’s quest for perfection that brings her deep into insanity. There is little else to the plot for writers Andreas Heinz and John McLaughlin focus much more on story. The audience feels every bit of Nina’s pain, they see the various manifestations of culture in Nina’s shattered psyche, and they can’t help but react. Most will probably just stop there, shuddering at the distinctly unpleasant experience, but I think many (and I am not saying I am one of them) will develop new ideas when the themes of obsession become so apparent in the movie. The film is definitely in the category with Inception as being far more about style than giving a clear message, but something with this much depth cannot help but have something to tell.
Much of the reason Black Swan gives such an impact is through the brilliant directing of Darren Aronofsky (Requiem for a Dream, The Wrestler) and cinematography of Phone Booth’s Matthew Libatique (though I find it difficult to see why they could get Oscar nominations when the writers do not, seeing as it is their story being told). The lighting and tone are so vivid and intimidating that the viewers truly shake with all the pain Nina feels. Furthermore, Aronofsky and Libatique use CGI frequently but effectively. I do not quite know why watching someone morph into a swan Wolfman-style has a deep impact and conveys something for more powerful than words ever could, but it does. The daring risks taken could have easily looked stupid, but instead it is something great.
While many, many actresses could do the job of playing Nina; Natalie Portman (The Closer, V for Vendetta) still has done a tremendous amount of work in being able to convey so much with her body. There is very little for anyone else to do (it is peculiar Mila Kunis could get awards when Aronofsky chooses to photoshop Portman’s head on her body whenever the scene gets intense); still everyone does everything to the best of their ability.
Black Swan contains graphic content in every sense of the word. In terms of violence, Swan is the year’s most extreme; one agonizingly long moment where Nina compulsively peels the skin of her finger still sticks in my head. The faint of heart should not attend, but I feel this is necessary for the rest of us in being able to feel the story. Equally necessary but more concerning, though, is the sex. Since so much of Swan’s story lies in the sexuality in Nina’s exploration of her darker half, it would not be the same story if we did not see Portman’s body as her character’s confused mind seduces itself. I understand why it is in there and I completely get the message could not be conveyed in quite the same way if it was not.
That should not be an excuse for it. Just because they can does not mean the filmmakers should affect the emotions and—in continuation—actions of their viewers in every way possible. A lot of effort has gone into the film--it is not a cheap trick to get males into the theater. Still, it does the same thing to the audience as any other cheap sex scene and that is not ok.
As crazy as this may seem, we (society) do not know all the affects these kind of images have on us. It is known that they have repercussions far more than we really understand. There is a reason such sights were, up until recently, taboo.
The fact of the matter is art is not a word one can use to justify obscene acts. It is for that reason Black Swan is not a good movie.

And now, simply for amusement, this awesome pic from a Lego Black Swan short someone made: