By Julie D. Griffin
In her attempt to perfect her art, she wrestles with the master of darkness himself. And whether she decides to stay on earth and try to survive it, or is she just so tired of people stealing what she has from her and never giving anything let alone love back in return, that she considers to stop dancing at any level of life, a hard work, well, depending on how privileged to get a wing and a prayer you are. When rivalry turns to blood warfare, and with her dancing as fast as she can, some worldly vampires eat more than drink your blood. And despite the vamp of the wave of the thing to christen Black Swan as a psychological thriller horror, the fear of the invoke regardless, one tears at oneself for the entitlement of the nature of the genre as pure horror.
The 67th Venice film festival premiered the 2010 ballet fanfare. Darren Aronosfky did very appropriately cast Natalie Portman as a prima ballerina whose past rival, the prior girlfriend of her present boss, and whose fate Nina Sayers, Swan Queen had no choice but to dance a Tchaikovsky’s Swan Lake right past. And then through a series of failli or pas failli, a passion play of great failure which did envelope so much sadness, it seemed as though no one came to the rescue of the star-player, even including all of those she had risked even life and limb for and whose success she had died a thousand deaths for ~ Seemed satisfied to look on as she moved through a great depression alone, and while even attempting to take more of her as she started to go down ~ Like concrete sledged quick sand for love and chocolate, Natalie soon only has enough strength to wade one leg motion after another.
The life and times of an author as coincide with the critique known as a cultural critique mean a significant forecast for a real life event. Of this movement on tape, watching the finished production by far an easier task than the hours of intricate and hours of painful work that goes into each sound bite, not to mention each development of pictorial creation, absent all rhetoric, even still, often means nothing where it should mean everything to each individual viewer. Whether you just drift through life absorbed among the midst of an umbrella over your own little world, or you dance for others, even as a dance of death, Nina Sayers gives of herself as the blind around her look on, her only prayer with each curl of her toes even if they refuse to help her, that they before her now final hour would even if they do not care would get it.
Just as the cultural epic of the life of the famous poet Emily Dickinson, her eternal rest come much too soon, she had hoped as she hid and wrote most of all to leave her living mark on the world. And despite the consumption of her death, she never gave up love until the very end. She who also felt as if at times no loving arms surrounded her, and as mothers of children who never birthed them and already had more than their share stole from the barren mother, and as brides who drank the rich cup of the blood sacrificed by others so uncaring, as long as they got theirs first, so goes the symbolism of Nina Sayers and her sacrifice of the art of the dance, and other symbolism of the rich film such as the double who appears to attempt to steal her place. And the position of needed romance and love.
All points of the plot theoretical join here and come to the culmination of her stretch. As Nina works against the strong wind to battle her own mother for the right to express herself, the lack of the ability of the mother to just allow Nina to make her own choice regarding an other love relationship, marks also the kind of emotion stressed after someone happy with another must fight for that place of acceptance. And the resistance while many may wrongly label such things as socialism or otherwise, no amount of tar paper thick enough to mask such a thing even begins to explain the kind of sufferage Nina and others like her must endure to do what others do as normal and take for granted. It is the difference between a simple high school couple going steady to swimming an ocean from America to the far east.
The reflection of how the entourage of producers from Ari Handel to Scott Franklin, Mike Medavoy, and Arnold Messer and Brian Oliver handled a lot of difficult passages which albeit a wonderful split among many rite of passage images, looked a good ode to the description of the Andres Heinz written story about the ballerina. Portman and Mila Kumis took actual ballet lessons in order to dance professionally for the film, and Universal Studios actually produced the Fox Searchlight Pictures film in New York. A $329 million film where Portman won Best Actress it seemed like no slim pickings for a story where the main image consisted of revealing how the prima sufferage dancer eventually took on her character with so much depth that the end of the film showed her transformed into the very Black Swan whose part she simultaneous did both bow and masquerade for.