Aronofsky strips SWAN LAKE

Rating: Null/10 (6 December 2010)

** Mild possible Spoilers ** Early on in Aronofsky's BLACK SWAN, the Choreographer Leroy (played by Vincent Cassell) states that his version of TCHAIKOVSKY's Swan Lake will be "stripped down" and made "real". The Choreographer can be read as a stand-in for Aronofsky's himself. And, for the next hour and 45 minutes or so we see Leroy/Aronofsky strip Swan Lake down.
Unfortunately, this leaves a version which is pretty naked itself. Naked in the sense of being thunderingly obvious in it's ambition. Naked in it's use of sensation and razzle-dazzle to mask its flaws. And, quite naked of any real meaning or human feeling.
Nude Movement One: Aronofsky has never been one for subtlety, but here the characters stammer with the most bald artiste clichés imaginable. And, did he really have to have a GIANT BLACK SWAN tattoo on Lily's (Mila Kunis) back? Why not just have a giant Monty Python-like arrow point at her from the rafters of the theater? Nude Movement Two: You could say that Aronofsky is following in the footsteps of Ken Russell with some of the over-the-top techniques, but that would be a slam on Russell (who could often attain great heights while simultaneously infuriating the viewer). And, Russell would never have been as boring as during the many rehearsal scenes here.
Nude Movement Three: While there have been a lot of folks who have been wowed by the visual pyrothechnics, horror movie motifs and hocus pocus, the film's fatal flaw is that entire thesis of the enterprise is not so much missed, but squashed. Namely, for Nina/The Swan Queen (Natalie Portman) to feel emotion. But, all of the aforementioned Aronofsky "touches" actually detract from any emotion being felt - by either Nina or the audience. It simply is naked of heartfelt passion. We're told that Nina has changed, but don't believe it.
And, quite assuredly, Leroy/Aronofsky has made Swan Lake/Black Swan less "real".
The positives do include some intriguing performances, and Portman is darn intense in the lead (even if you don't buy the ending). One can't help but wonder why Leroy would entrust such a critical role to Nina (not just in this ballet, but as the kickoff for the troupe's season) if she is so obviously in turmoil. Matthew Libatique's super 16mm photography is nimble, and Clint Mansell (with Matt Dunkley) does a good job of adapting Tchaicovsky's music (though one does wish that, you know, PETER ILYICH TCHAIKOVSKY got primary music credit, not being relegated to the long end credits roll).
***************Spoiler******************** And, Aronofsky had better watch out because he's come dangerously close to M.Night Shymalan territory with an ending in back to back films which are tres similar - it worked better in THE WRESTLER