Best of First Impressions

Rating: 10/10 (25 August 2017)

There are only about a dozen of films I vainly hope to watch again for that unmistakable first time. This is one of that superb dozen, but much less comparable.
It's probably needless to say, but Natalie Portman is exemplary in her lead role and is largely why Darren Aronofsky's film is so wonderful. Despite her character initially being a clear archetype, Portman did excellent with portraying her character's inner turmoil and self- doubt that distinguishes her role magnificently. That's the word to best encapsulate this story, but I haven't even touched on Aronofsky's exciting director's eye.
So Aronofsky's imprint on this film is *almost* equally compelling, which isn't meant to downplay the value or importance of competent directing. It really shouldn't be that great of a surprise to most moviegoers though that Aronofsky's films dwell on some usually engrossing noir and -- especially in this film's case -- thinly disguised animosity which engulfs the protagonist's world. It's all to the betterment of the protagonist and storyline though, so don't expect it to disrupt the theme or narrative drive.
Also, the vastly demented mother character in this movie may actually come to surprise you by the end, so don't dismiss her as a half-developed antagonist. It's more influential than that.
If there's anyone still in doubt if a movie centering around a ballet dancer can be at all likable, Natalie Portman and Darren Aronofsky are the two primary, terrific contributors who'll illustrate why such an attribute may be strongly undervalued in movies today. I try to watch this twice or three times a year to fully enjoy it, but first-time viewers: I can't implore you enough to give Black Swan an honest viewing.