Analysis of Black Swan Film - Movie Review Example

Doppelganger The film “Black Swan” is rich in depicting the life of the ballerina who struggles for the role – and becauseof it. Psychological thriller, created by Darren Aronofsky, fully described the journey through the psyche of young ballerina Nina, soaked into the intrigues of competition and rivalry. Film enables the viewer to try out the life of devoted ballerina, where the role may take everything – personality, mind and finally – life. “Black Swan” takes after the narrative of Nina (Natalie Portman), a dedicated ballerina, whose life is totally devoted to the ballet. She lives with her retired mother Erica (Barbara Hershey) who was also a ballerina; she fanatically bolsters her daughter’s expert desire. At the point when masterful executive Thomas Leroy (Vincent Cassel) chooses to supplant prima performer Beth MacIntyre (Winona Ryder) for the opening creation of their new season, Swan Lake, Nina is his first decision. Anyway, Nina has rivalry: another dance lover, Lilly (Kunis), who awes Leroy also. Swan Lake obliges a dance expert who can play both the White Swan with purity and elegance, and the Black Swan, who speaks to trickiness and sexiness. Nina fits the White Swan part consummately however Lily is the embodiment of the Black Swan. As the two youthful dance specialists extend their competition into a bent fellowship, Nina starts to get all the more in contact with her dim side with a heedlessness that debilitates to totally destroy her (Fox Searchlight, 2015). “Black Swan” is a psychological thriller. It is one of subgenres of thriller. There are some genre expectations connected with it. Thriller tend to start with the frightening scenes, while this film starts mild and nice, only the skin problem is shown to seed some echo of anxiety and realize it will matter further. The antagonists are shown almost from the beginning as well – they are Beth (Winona Ryder), ex prima ballerina, and Lilly (Mila Kunis) – her current competitor, genuine ballerina who possess the traits Nina does not obtain. Tension is consistently growing. The protagonist is proactive, even though she may seem rather passive in the beginning. Film provides constant focus on protagonist states of mind. Character growth is inseparable part – Nina manages to change herself ultimately to match the role. The ending ought to make all the ends meet however give an agreeable turn if conceivable. Also, the protagonist ought to have learnt something important to him or the human condition. There has to be no coincidences – all has to be resolved, random events are unnecessary and annoy the viewer. Main characters are surrounded with complementary characters – tutors, rivalries, partners – film depicts all of them. They are made to support and enhance the plot and the dynamics of narration. Antagonist has to make a perfect match for the protagonist – being equal or even stronger; Lilly is a capable ballerina. She is to challenge Nina and thus enhance her success. Antagonist has to raise not only hatred but sympathy and understanding, to avoid plain good-and-evil format. Thrillers typically raise the questions of life and death. Сonstant and еense conflict scenes – clash through every scene, whether in dialog, activity, occasions… the conflict propels the activity. The conflict must raise – or experience change all through the story. The relations changed a lot through the story. The main hero is charismatic; viewer definitely like her. The main hero’s goal is clear from the very beginning – yet the antagonist’s goal contradicts it (Hunters Writings, 2012). Action and mental perspectives both are utilized to add to the anticipation. With a psychological thriller the contention (fight!) is through the brain, abilities, and mind of fundamental characters, switching the more typical thriller "plot over character" desires ie. a mental thriller viewer needs to comprehend the character, character can (here and there) be marginally more imperative than plot. Characters shouldnt win utilizing physical abilities or endeavors, but instead utilizing their psyche, minds or smarts. Even though Nina’s efforts are connected with high physical tension, the plot is more inclined about the mental and emotional pressure. Components of dramatization, puzzle and loathsomeness can frequently end up in the psychological thriller because of the accentuation on inspiration and the psyche. The issue of death concerns not only physical death but death of mind, insanity (Hunters Writings, 2012). Film traces marvelous art of transformation – doppelganger – which reflects deep Jungian concepts of Analytical psychology. Carl Gustav Jung, famous Swiss psychiatrist, follower of Sigmund Freud, claimed there is a Shadow part within every person – which consists of suppressed and omitted aspects of the personality. The shadow is the obscure hidden dark side of our personality – dim both in light of the fact that it has a tendency to comprise prevalently of the primitive, adverse, socially or religiously devalued human feelings and motivations like sexual desire, power strivings, narrow-mindedness, voracity, begrudge, outrage or fury, and because of its unenlightened nature, totally clouded from awareness (Diamond, 2012). “The Shadow is our unlived life” (Lessons4living). To decide to be one path is to pick not to be another. The shadow is comprised of the "unchosen" decisions. On the off chance that, as a youngster you decide to be intense, then you are not delicate and the other way around. One figures out how to either keep your emotions in or to let them out. Decisions are made and course is given to identity advancement. The shadow can be seen as the unlived life coming about because of a certain example of life decisions. “The person we choose to be, ... automatically creates a dark double -- the person we choose not to be" (Moore, 1994). The shadow is most dangerous, deceptive and risky when frequently curbed and anticipated, showing in heap mental aggravations running from depression to psychosis, nonsensical interpersonal threatening vibe, and even disastrous global conflicts. Such malicious manifestations, state of mind and conduct stem from being had or driven by the separated yet unfaltering shadow (Diamond, 2012). For Nina, the Shadow part is personalized by Lilly – who is a sole Black Swan, not available for Nina initially. Nina exactly fits for the White Swan, who is tender and innocent; she feels the pure love to the prince. Nevertheless, seduction, which is the core of the dark side, the Black Swan, is not available part of her that she has to reveal and uncover. In order to play the main role Nina has to open this part within. Through the many obstacles she gets through – including party, drugs, casual sex and separation from her mother, - Nina’s personality undergoes irreversible changes. During the film narration, her psychosis features widen and rule over her now. At the beginning, she has already suffered from the mild form of neurosis – scratching all the time. This compulsive habit chased her all over the whole story. The body changes supported the narration line of the transformation of the whole her creature actually. Aronofsky uses all the tools to depict this transformation – music, rising tempo, tension and emotional catharsis. The Shadow contain elements that are not only evil or destructive. Usually, there are hidden keys within. Integrating the Shadow means creating the whole. Through the film it is depicted through the interaction of Nina and Lilly. They are different, they are competitors, they are friends, they have sex – even if only in Nina’s disturbed mind. She kills Lilly, being afraid that she will take her leading role; she instead kills herself really. It is a dreadful scene of the fight, in which Nina strokes Lilly in her belly. She hides the corpse and sees the blood. She plays the Black Swan brilliantly after. She returns really into the Black Swan – she took the black feather from her back, where she has a wound from the beginning of the film; it was a bright metaphor of a ‘slotting wing.’ Her eyes are red, her skin had changed, she is covered with feathers more and more with every swirl she makes. She became the Black Swan on the stage. Special effects here created just perfectly naturally. However, when she sees Lilly visiting her, she discovers that piece of glass really within her own belly. Through this interaction Nina reveals her suppressed features connected with loss of control, sexuality and independence – from too much caring and controlling mother, first of all. Through the film there are no flashbacks but many repeating scenes. Like the one she observes skin on her back. The film covers the issue of black-and-white, duality. Such dialectical approach regarding the growth and transformation. There is no voice-over through the film. ‘Labyrinth of linkages’ is not very wide but bright. Surface and depth are balanced. There are smooth shifts of close-ups and common views. Imagery and sound support the understanding of the ongoing narrative dynamics by the viewer. Film is full of blood and hallucinations. They support the genre and stress on growing insanity. The culmination is the scene when Nina kills Lilly – but then realizes she killed herself. The role cost her sanity and life. Her mother, ex-ballerina supports her as she wish to fulfill own aspirations and ambitions. Even though she really cares – she says her daughter is ill and will go nowhere the day the performance takes place. Interesting aspect is also the so-called play-within-play – when the actors act within the plot also. The story is about both personal and professional growth. The viewer may feel inside the environment ballerinas live and work. The dreadful pain, repetitions, preparations, competition, backstage – all this appear to be the pearls of experience people do not reach usually – only is they are involved. The viewer may undergo the transformation with the hero – and to see what is hidden beyond the role of the ballerina. Also, ballet is really performed at the really high level. The film is full of black-and–white imagery – Nina wears light coat, Lilly is dark one; the underwear they choose is totally opposite. There is an attraction and anxiety. In the scene, where Nina and Lilly have lesbian sex, the music is quite uncanny – Nina sees own face once, which shows the viewer she is becoming the Black Swan. Another uncanny aspect is when Nina comes to Beth and she strikes own cheeks with the nail file – then Nina sees it is her face stroked and bleeding. Beth’s images pursues her even when she comes home. Hallucinations become more intense through the film. They become more dreadful as well. In the middle of the film one of the portraits in Nina’s mother’s room moves. In the end all of them act mad. When she turns into th Black Swan, she gets the black feather from the wound on her back. Her legs are broken. She falls and lose consciousness. There is a bright shot, when there is a close-up when tiny toy ballerina, only piece of it actually, swirls without the leg and upper body. The tender music is heard. Then all fades out. To sum up, “Black Swan” is a great and marvelous masterpiece that contain mystery, thriller, hero transformation, emotions – happiness and disappointment, grief and fear. All the tools, music, actors, narrative dynamics, editing – are perfectly combine to reach the higher goal – to depict the personal development and integration through the professional development. The deep issues and acute questions are really arisen. Integrity within the person is a great bliss. It is important not only for ballerinas. The viewer has to find own areas of integration. The process is usually painful, but the outcomes may impress. Before her death Nina said she had just experiences perfection. Everything has to be done with devotion; but in case it is excessive and obsessive – the price may be insanity. References Diamond, S. A. (2012). Essential secrets of psychotherapy: What is the "shadow"?.Psychology Today, April(20), Retrieved from https://www.psychologytoday.com/blog/evil-deeds/201204/essential-secrets-psychotherapy-what-is-the-shadow Moore, T. (1994). Care of the Soul. Recorded Books, Incorporated. Fox Searchlight,. (2015). Black Swan. Retrieved 27 May 2015, from http://www.foxsearchlight.com/blackswan/ Hunters Writings,. (2012). Elements of the Psychological Thriller, Mystery, Suspense and/or Crime Fiction Genres. Retrieved 27 May 2015, from http://hunterswritings.com/2012/10/12/elements-of-the-psychological-thriller-mystery-suspense-andor-crime-fiction-genres/ Lessons4living. (2015). The Shadow: Our Darker Side. Retrieved 27 May 2015, from http://www.lessons4living.com/shadow.htm Read More