Darren Aronofsky has made a career of choosing interesting, non-traditional material and illuminating the unexpected aspects of his subject matter. Case(s) in point: The Wrestler (a down-trodden wrestler), Pi (mathematicians), Requiem For a Dream (middle-aged drug addiction), and now Black Swan (competitive ballet.)
His knack for taking something completely mundane and elevating it to something tense and dreadful is astonishing. Who would have ever thought that a movie about mathematicians could be exciting, much less sinister? It is no surprise that the man who brought us Pi delivers a dark, provocative, psychological drama, set in the cutthroat (who knew it?) world of competitive ballet.
Natalie Portman stars as Nina, a beautiful ballerina who dances for a New York City ballet company. Though technically gifted, she has never gotten her big break because the company’s arrogant art director thinks she is too bland to carry a performance.
The film opens with us being privy to some of the cattiness that takes place behind the scenes at the ballet. The troupe’s principal ballerina, Beth (Winona Ryder), is being forced into retirement at the ripe old age of 37. Nina finds it sad, and defends the dancer, while the other girls titter on about her age and diminished athletic ability. It’s immediately established that the women are highly competitive. There is no sense of camaraderie, everyone is out for themselves.
The perennial classic Swan Lake is set to be the season opener, and Beth’s departure leaves the principal role wide open. Director Thomas (Vince Cassel) pits the girls against one another as they audition for the coveted role of The Swan Queen.







