Following up on the 2009 surprise hit The Wrestler, Darren Aronofsky has offered us another film about people who destroy themselves for our entertainment — this time in the rarefied world of ballet. Tiny Natalie Portman is plucked from the chorus of the fictional but prestigious New York City Ballet for the dream role of the Swan in a hot new production. It’s the chance of a lifetime but her fragile psychology shows through in her performance even though her dancing is technically perfect. Maestro Vincent Cassel tries to reconstruct her — as you would a first year drama school student — while domineering stage mother Barbara Hershey is pushing back in the other direction. Something has to break and it does.
Black Swan is exceptionally well made, beautiful and challenging to watch — and Portman’s performance is nothing short of amazing — but films that aspire to greatness need to be about something more than, you know, what they’re about and once I’d decoded was going on I couldn’t see enough under the surface to justify the hype.