Hallucinations, fever dreams and bouts of hysteria plague the young woman as she starts to see herself as a more sexually aggressive woman, thinks her reflection at times is that of Lily and begins to finally rebel against her mother in exploring the world outside their tiny apartment.
From Nina’s bedroom, which is befitting a nine-year-old what with it’s menagerie of stuffed animals and girlish aesthetic to the motif of blood that appears repeatedly, it’s obvious that Aronofsky is intent on exploring Nina’s delayed metamorphosis from young girl to mature woman. This is meant to mirror her role in the ballet, as is Nina’s emerging sexuality as she toys with seducing Thomas, anonymous sex and perhaps a bit of lesbianism with Lily. The Madonna/Whore complex comes into play here, as she’s required to be both in order to please those whose approval she craves. Unfortunately, in trying be all things to all people, nothing is left for Nina herself to relate to, as she is uncomfortable in both of these roles, leading to a psychotic break.
We’re never sure of what’s real and what’s not. Is she really making love to Lily or is this all in her mind? Does she repeatedly visit Thomas’ former lover and ballerina Beth (Wynona Ryder) in the hospital or are we simply made privy to her own fears about life after her career comes to an end? And what about the climax in which we witness a series of events that in the end defy logic but certainly make for a gripping finale?
I’m not sure all of the narrative pieces fit together, but that’s Aronofsky’s point. An examination of one’s descent into madness is only effective if we are put into the shoes of the afflicted, and the film does just that. Thanks to the filmmaker’s audacity and a fearless performance from Portman, Black Swan proves to be a gripping, shocking and haunting look at the fragility of the human mind and how defenseless we all can become to our fears and insecurities.
The Fighter delivers an inspirational knockout
My fear concerning David O. Russell’s The Fighter is that many will dismiss it as just another boxing movie. But as Rocky is more love story than slugfest, this compelling biography of fighter Mickey Ward is really an examination of one man’s struggle to free himself from the toxic environment he finds himself wading through. While Ward faces many worthy opponents in the square ring, his greatest threat comes from his dysfunctional family, a sad sack crew of miscreants who force him to put himself on the line for their benefit.
While Ward (Mark Wahlberg) is more than able to defend himself in the ring, he’s a chump where his opportunistic mother Alice (Melissa Leo) and his crackhead half-brother Dicky (Christian Bale) are concerned. Working as his manager, she has no problem setting up bouts he can’t possibly win, as getting paid is her main concern, while Ward insists on his brother training him due to a misplaced sense of loyalty. However, salvation appears in the form of Charlene (Amy Adams), a tough, sexy bartender who falls for the big lug and helps him look out for his own interests.
It comes as no surprise that Ward has some success on the comeback trail and it’s here that the film almost becomes bogged down with clichés. However, Russell shrewdly constructs the movie, capturing a sense of raw realism between the characters as well as their hardscrabble environment (the film was shot in Ward’s hometown of Lowell, Mass.) so that we accept these later moments as genuine. Eschewing the Rocky template, Ward’s key fights are shot in much the same way that they appeared when televised. The result is a film that, while not shot in documentary style, at least doesn’t feel like a formula Hollywood product.
Despite their faults, we come to care not only for Ward but also for his extremely flawed family members, primarily because of the sympathetic, realistic performances delivered by the cast. Wahlberg has been unjustly underrated since he entered the acting game and hopefully his turn here will rectify that. He brings a determination and sense of sympathy to the character that has us pulling for him. Bale, who underwent another physical transformation for this role, is fascinating as he goes all the way in exposing the depths of Dicky’s fall. In fact, there are times when he steals the film from its star and the sparring these two engage in is fascinating to watch. Perhaps the film’s biggest surprise is Adams, as she proves she can handle sexy and strong as easily as sweet and innocent. Her Charlene holds her own, giving as good as she gets with a dynamic piece of work. These three go to the mat for their characters and prove to be the difference, as The Fighter is no hamand-egger but a true winner.
Contact Chuck Koplinski at ckoplinski@usd116.org.
