Ouch !!! The excellent reviews read masterpiece of Darren Aronofsky in the blogosphere (especially on sites Satoorn and Filmosphere ), make me doubt the usefulness of my own contribution to the subject. Especially as I will abound exactly in their sense. So, an n-th apology of Black Swan, why do? Please me ? Maybe then truce of blabla bird, assume our egocentrism and place to the superlatives: Black Swan took me to the 7th heaven.
Flashback to two balls . Polar cold sweeps the streets of Toronto in gray Sunday afternoon in December 2010 when I decide on a hypothermic blood blow to engulf me in a room projecting Black Swan . Two motivations: 1) fissre warm fissa to avoid the amputation of the lobes 2) discover this film whose trailer, seen the day before in the telescope in my hotel room, really challenged me. An unhealthy thriller behind the scenes of a ballet? By Mjolnir, what a singular concept! Strangely, I had paid no attention so far in Black Swan but this trailer, complete with some edifying information on the preparation of Natalie Portman, piqued my curiosity. Lucky, the session starts in twenty minutes. Ticket in hand, I sink into the semi-darkness of the corridor leading to nirvana (we calm the perverts …). The ass well seated in my chair, papilla cajoled by an ice cream yoghurt, eardrums barely disturbed by the giggles of my two neighbors chair (a quadra and his mom), I am far from imagining, in the comfort wadded of this Large THX room, the intensity of the shock to come.
After the band-ads (amazing, each in its own way) of 127 hours and Rabbit Hole , a few pubs and Lowering giggles, the lights are switched off again, slowly, for good. This famous few seconds only in theaters and home theater whose best in the world can never match the magic. Black Swan opens, already majestic: Natalie Portman, dressed in ballerina twirls alone on a stage lit with a single projector, the sound of the mythical theme of Swan Lake by Tchaikovsky . A dreamlike atmosphere, whose visual beauty and virtuosity predicts that the bar will certainly be placed very high by the cinema experience that is coming. The scenario plant also intuitively its stakes: Black Swan will stick to the slippers of Nina Sayers, a young dancer of the New York City Ballet at the shaky psychology, living alone with her mother Erica (Barbara Hershey) and obsessed with his art into his Dreams. A bit like Michael Mann peered anxiety Russell Crowe by fixing its shoulder height camera in Revelations , Aronofsky does not let go of Nina slipper in his movements between his training room and home. The Grail for this gifted artist is to take double lead role of a reinterpretation of Swan Lake , more baroque and raw, that prepares the director of his company, Thomas Leroy (Vincent Cassel, on top too) . Perfect incarnation of the innocence of the white swan, Nina must convince her mentor that she can also play the turbulent sensuality of the black swan. While she engages all her forces in this battle, the young woman does not suspect that this devouring search for absolute will spray the fragile dykes barring the road to her own demons. This fear, these fears until nausea, Aronofsky transmits us quasi-physically by the genius of a visceral staging and ceaselessly on the lively, brewed by a montage oozing the anguish and a band carrous d Strange and little reassuring supernatural echoes. In his adrenaline spikes, Black Swan has scenes from the scariest ever seen in cinema, from those that make you shrivel you in your seat, included bile rise. Claustrophobic, brace yourself: the story takes place almost entirely in enclosed spaces conducive to the explosion of neuroses of his heroine and emotional abuse of his relationship with Thomas. In the skin of Nina Sayers , Portman takes in this respect all the risks, both in the composition of a credible ballerina in emotional boundaries crossed by confidence in the art of Aronofsky. The Oscar can not escape him.
The gradual shift of Nina in the mental chaos, where the boundaries between fantasy and reality is blurred, also refers to the moviegoer a kaleidoscope of references. Its borderline psyche evokes those of Mima of Perfect Blue by Satoshi Kon , of Carole’s Repulsion and Trelkovsky the tenant (the Polanski to the big time haunts Black Swan ). The tyranny of Thomas and the price for artistic perfection are echoed in The Red Shoes Powell. Potter also nearby Cronenberg (for some flippantes mutant visions. Yes yes, mutant!) And Bob Fosse (the auditorium Black Swan is the same as with the show ), the Verhoeven for Showgirls and Adrian Lyne of Jacob’s ladder (precursor rediscover this incredible film). The bad tongues will shout at the multi-plagiarism, I prefer to see a brilliant digest nourishing a masterpiece finally like no other. Beautifully set to music by Clint Mansell and his orchestration of the unforgettable melodies of Swan Lake, Black Swan will defeat you. Nina’s meticulous toes, meticulous technical gestures …) and the flamboyance of her interpreters (including the second roles without a false note: Mila Kunis, Barbara Hershey and Winona Ryder). Black Swan will carry you through the dark side and cruelty as by the hypnotic beauty of his choreography. It will fascinate you by the richness of its subject and its mise en abyss as much as by a limpid clarity of which only are able the great demanding popular films. Black Swan finally you upset by Coda in apotheosis whirlwind of emotions that you will literally step into the light, tears in his eyes for the most sensitive. Nothing is more exhilarating than feeling so rang and legs cut out from a projection. Then gradually resume his march, happy, head among the angels, taking the film in you. For a long time.
Black Swan, by Darren Aronofsky (1h50). National release on 9 February.