jane » 28 янв 2011, 22:42
Девочки, обязательно посмотрите фильм Черный Лебедь в главной роли с Натали Портман. Нереально захватывающий фильм, никогда не думала, что можно снять такое фантастичное кино про балет, про интриги и немного сюрреализма. Было страшно, на некоторые моменты просто не могла смотреть, жмурилась. Но все актеры такие потрясающие,сюжет отличный и развитие действий тоже.
Об этом фильме даже в нашей внутрибанковской газете ревью написали. Сорри, что на английском.
Natalie Portman flick shows the darker side of dance
Up for a demented, dangerous journey into the world of professional ballet? Then Black Swan – hard to beat as the most crackers film of 2011 - is just up your street.
American director Darren Aronofsky is not known for subtle films which bask in the joy and wonder of the human condition. They do not revel in humanity’s eternal optimism or whoop it up in the sheer delight of life.
Indeed, mathematical-inspired madness in Pi, amphetamine-fuelled antics in druggie downer Requiem for a dream and Rourke-comeback-vehicle The Wrestler all reflect the refreshing oeuvre of somebody who embraces originality while bravely tweaking the nose of saccharine and pusillanimous convention. Somehow, I don’t think that Aronofsky will ever make the lateral move into romantic comedies or start to sing the praises of jaunty 3D superhero films.
He remains faithful to his back catalogue in twitchy, loony psychological drama Black Swan. Adapted from a story by Andres Heinz, the film is set in the competitive world of ballet as a new York-based company led by Vincent Cassel’s driven director, Thomas Leroy, prepares for an iconoclastic new version of Swan Lake.
Each of the ballerinas craves the central role of the White Swan. None more so than Natalie Portman’s Nina Sayers, a dedicated, if shy performer.
When Nina’s efforts are rewarded by the main role, she comes under increasing pressure to lose the over-technical edge to her performing. As she strives to “let herself go” in dance, her mind begins to take the toll.
Nuts & crackers
Natalie Portman – deservedly nominated for a Best Actress Oscar – is a whirligig of increasingly delusional ferocity, yet while dancing she manages to retain a face in seemingly constant repose. Even as she gradually goes doolally, her poise and dedication seem to offer the possibility of some kind of redemption.
In true melodramatic style, each of the central characters in the film is barmy in some way. Strutting Cassel is a controlling force of priapic, Gallic relentlessness; Mila Kunis as party-loving, pill-popping, tattooed understudy, Lily, is the dark horse to Nina’s repressed pony. Barbara Hershey does an exceptionally creepy job as Nina’s harpy of a mother and Winona Ryder as bitter, round-the-bend has-been ballerina Beth, chews the scenery with malicious, sanguineous glee: it’s her best role for ages.
Matthew Libatique's wobbly, claustrophobic and deranged cinematography perfectly reflects the tormented, increasingly unhinged heroine as she tries to live up to the demands of the impending opening night. Clint Mansell’s score (with the help of Tchaikovsky) ebbs and swells to complement the atmosphere of paranoiac conflict and self-harm which builds to a classically, enjoyably over-the-top denouement.
Bonkers, befuddling and bursting with hallucinatory energy – a little on the pretentious side perhaps – but a brilliantly spellbinding portrayal of psychotic deterioration, Black Swan is not for the nervous, squeamish or medicated cinema-goer. It nevertheless has a remarkable impact as a mesmerising, maddening study in mental breakdown.
By Daniel Mattison
27 January 2011
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