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22 giugno 2011
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Nina è un'ambiziosa giovane ballerina di New York, a caccia del doppio ruolo che tutti sognano: il Cigno Bianco, delicato e innocente, e il Cigno Nero, che emana una malvagità seducente, nel classico Il Lago dei Cigni, in grado di trasformare una sconosciuta in una star. Nina riesce ad ottienere il ruolo, ma non è sicura di poter incarnare la parte oscura della regina dei cigni. Mentre raggiunge nuove vette con il suo corpo, gli incubi, le fantasie e le gelosie che nasconde iniziano a farsi strada in maniera profonda, causando uno scontro pericoloso con una provocante nuova arrivata, Lily, che rappresenta la sua maggiore rivale. Nina in breve tempo si cala fin troppo bene nel ruolo del malvagio e mortale Cigno nero.
Tipo confezione: Slipcase.
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Al momento, si è verificato un problema durante il filtraggio delle recensioni. Riprova più tardi.
Il tema concernente il livello di immedesimazione da parte di un attore (o ballerino) in un ruolo che dovrà interpretare è un tema importante anche per i non addetti ai lavori.
Principali recensioni internazionali
Portman, who appears in every scene, is fantastic in the role and it is a stylish and involving film with a real feeling of claustrophobia. But there is a strange uneven tone in that it starts as a drama and then melds into horror (albeit with some very unnerving images - particularly the reflection in the costume-measuring scene). The script makes some big jumps - and while I appreciate it is hard to dramatise something internal like mental instability, it felt a bit of a rushed journey from shy, uptight Nina to full-on hallucinating Nina. But it's worth it for Portman's performance.
Black Swan erzählt von der ehrgeizigen Tänzerin Nina (Natalie Portman), die alles daran setzt, ihre große Chance zu ergreifen.
Als der künstlerische Leiter (Vincent Cassel) der New York City Ballet Company seine langjährige Primaballerina Beth (Winona Ryder) absetzt, bietet sich Nina endlich die Gelegenheit, vom Bühnenrand ins Rampenlicht zu treten. In einer Neu-Inszenierung von Tschaikowskys „Schwanensee" soll sie die Hauptrolle übernehmen und sowohl den weißen als auch den schwarzen Schwan tanzen. Für den schüchternen und steifen weißen Schwan hält er sie sowieso für die perfekte Besetzung . Doch der verführerisch-sinnliche Teil dieser Aufgabe fällt der strebsamen Unschuld sichtlich schwer, was Ninas Psyche mindestens so sehr unter Druck setzt wie die Erwartungen ihrer strengen Mutter (Barbara Hershey). Doch Nina hat noch ein ganz anderes Problem als die Überwindung ihrer eigenen Sucht nach beherrschter Perfektion, denn durch das Auftauchen der lasziv-lebenslustigen Konkurrentin Lily (Mila Kunis)sieht sie ihre Position bedroht. Ninas beginnende Paranoia und psychotische Erscheinungen nehmen immer mehr an Intensität zu...
Eine zerbrechlich, zierlich und grazil wirkende Frau wirbelt im Kreis umher.
Schweißtropfen beginnen sich an ihrer Schläfe entlang nach unten zu schlängeln, ihr Atem geht schneller. Elegant springt sie kurz in die Luft, nur um sich Sekunden später wieder um die eigene Achse zu drehen. Ihr Tanz ist schön, anmutig und gleichmäßig. Doch plötzlich betritt ein schwarzes Ungetüm die Bühne und beunruhigende Musik setzt ein.
Diese Stimmung überträgt sich sofort auf den Zuschauer, der den Blick nicht von den Tänzern nehmen kann. Der Tanz der Beiden wird immer schneller, ungestümer, aufregender. Sie windet sich in seinen Armen, versucht seinem Griff zu entfliehen. Wird das Ungetüm sie am Ende in die Finger bekommen? Gewinnt der schwarze Schwan die Oberhand oder siegt das Gute und Reine in Gestalt des weißen Schwanes?
Natalie Portman liefert wirklich eine unglaubliche Performance. Sie spielt und tanzt sich hier die Seele aus dem Leib, ist ständig an der Grenze zwischen Wahn und Wirklichkeit und verkörpert Gut und Böse gleichermaßen überzeugend. Die besten Szenen sind ganz klar ihre zusammen mit Vincent Cassel. Wenn sie beide in einer Szene zu sehen sind, entwickelt der Film eine immense Sogkraft, der man sich nicht entziehen kann und auch nicht will. Vincent Cassel spielt ebenfalls hervorragend. Fies, eigennützig und doch charismatisch mimt er den diabolischen Starchoreograph, der seine Mädchen eigentlich nur ausnutzt. Auch Mila Kunis überzeugt in ihrer Rolle.
Der andere berauschende Aspekt ist natürlich das Tanzen. Noch nie zuvor war Ballett so vielschichtig, spannend, mitreißend und packend wie in diesem Film. Selbst für Leute, die am Ballett eigentlich sonst kein so großes Interesse haben (also ich zum Beispiel).
Die Tanzszenen werden von Aronofsky als wunderbares Mittel zum Spannungsaufbau genutzt und das nicht zu knapp. Auch wenn es etwas dauert, bis man sich in den Film eingefühlt hat, ist „Black Swan“ nicht minder spannend. Vor allem im letzten Drittel entlädt sich die bedrückende Atmosphäre des Unwohlfühlens und des Wahnsinns in Form einer Natalie Portman, die wie entfesselt spielt und tanzt.
Dieser ewige Kampf, der in der jungen Balletttänzerin Nina tobt, die verwischenden Grenzen zwischen Realität und Wahnvorstellungen, werden hier unglaublich flirrend und furios inszeniert. Das Finale ist ein wahres Kunst-Highlight und gleichzeitig der atemberaubende Höhepunkt an Spannung und Atmosphäre.
Mich hat der Film restlos begeistert.
I found the acting, photography and audio to be above the norm with some good special effects thrown in, but the script held no surprises as it was obvious Nina is a schizophrenic self harmer on the verge of a breakdown from the start, all we see in the first half is her gradual decline under pressure [lose a *]. The reality is, this documents a breakdown under stress and insecurity in the workplace, which many people can identify with, which explains its success, but the start is too drawn out although the last quarter is action packed and intense [regain a *]. The story simply reflects the ballet itself, so holds no real surprises.
The disc goes to a main menu offering play, set-up [English, English audio descriptive, subtitles; English Hoh, Portugues, Suomi, off, more= Scandinavian and east European], scenes and extras [black swan metamorphosis; chapters 1, 2 & 3]. Rated 15 this uses the F word, contains ‘adult’ sexual conversation, has temperamental violence, self harm, masturbation, partial nudity, graphic groping, oral sex, drug taking and some intense scenes, it’s not really family viewing. A phenomenal box office success and strangely voted number 1 in Cosmopolitans most erotic film scenes list, its really the final quarter that lifts this above the dross gaining a grudging *****.and I believe if the cast had been unknown, this would have been an 18 rating and much derided.
The one where his often overwhelming and a little self-pleasing style finds an appropriate story and content to be accomplished at its best.
It is in fact a dark and morbid version (but also unusually elegant and not so "punkish" or extreme) of the Swan Lake, talking about ambition, sexual fears and a very problematic path to artistic and personal maturity which never turns into the usual cliché of the rebellious and reckless young woman at the edge of normality.
The ballet POV and some smart editing ideas (mixing different levels of reality and imagination) are quite effective and they prove that Aronofsky, if channeled in a well-scripted and structured story, can use his talent not just to show off.
The blu ray is pretty remarkable and Natalie Portman and Mila Kunis give maybe their best performance so far.
Portman was excellent as is expected and the character she played was so humanly fragile and tough at the same time. Hence the brilliant artwork of the movie poster. some aspects were scary in the sense of one could well relate to the anxiety of such a situation.
Story line was nicely pieced together and well edited.
Great effects of the character changes - and as I come from a theatrical background on the technical side it was very interesting to see the unfolding of the main character as I recognized this tough/fragility in many of the Ballet people I have met.
Would have loved to have seen more of Winona Ryder in this production, however.
Brilliant subject matter.
Nina Sayers (Portman) is committed to her art as a ballet dancer, she lives a secular life with her over protective mother (Hershey), herself a one time dancer. When Nina's ballet company announce that a production of Tchaikovsky's Swan Lake is seeking a new prima to play the Swan Queen, Nina pushes herself still further to land the role. But with the role comes more pressures. Her instructor, Thomas (Cassell) urges her to explore darker passions within so as to nail the Black Swan part of the role, her mother becomes even more over-bearing and a new arrival to the production, Lily (Kunis), pushes her fragile state of mind to the limit. Perhaps more worrying is that Nina appears to have a doppelgänger lurking within her enclosed world....
Black Swan, once the dust has settled, will prove to be a most divisive film. More so when under the scrutiny of a repeat viewing. How it holds up after the exhilaration of that first viewing has faded will be most interesting to observe. For Black Swan "is" at times "exhilarating", brilliantly performed by its cast principals, and in Aronofsky's hands it's directed with a hand-held panache befitting one of America's most talented directors: but is it the sum of its parts? Aronofsky has been quick to let people know that he views Black Swan as the sibling to The Wrestler, and fact is is that he reworks a lot of that film's particular aspects into this Swan Lake skin itcher; only now he's cloaking his subject in the darker side of the human mental condition. So if it isn't broke, don't fix it then. Be it the back drops (dim and raw), specialist entertainment professions or the suffering for their art central characters, Aronofsky clearly isn't pushing for a career reinvention here. However, he ups his ante visually and shows himself to be a dab hand at psychological horror. Other critics have name checked the likes of Polanski, De Palma and Cronenberg, those are all fair comparisons, and in the grand scheme of things, enormous pats on the back for Aronofsky.
He is also a director able to get career defining performances out of his charges, many have been quick to remember Mickey Rourke's much lauded turn as The Wrestler, lets not forget the performance he garnered out of Ellen Burstyn in Requiem for a Dream, too. Portman, tho, tops both considerably, pushing herself, like her character, to the limit for the role; with her director now on record after Portman's win for Best Actress at the BAFTA's as saying she's the best actress he has worked with thus far. Both Portman and Kunis undertook months of ballet training to put some reality into the film, with Portman gaining praise for her dancing in ballet circles. But from here is where the problems in the film begin to unravel. Ballet dancers we know are driven, it's a tough form of the arts, but in some quarters of the medium the film has been criticised for portraying the dancers negatively, and for over exaggerating their lives. It's a good point, because my lady partner who I first watched the film with felt that Nina comes across as a whiney whinger, and she is right. Nina as a character is hard to feel any sympathy for. This is more evidently annoying upon a second viewing, so much so it's debatable if you will even care about Nina once the applause has died down at the finale. Great performance, but written as unsympathetic or otherwise? Eh?
Another issue is the matter of sense, or the not making of to be exact. Many greats behind the camera have thrived on producing head scratchers, complex pieces designed to nag away at you as you try to sleep. The narrative here doesn't suggest anything complex, yet incidents don't add up, with one critical incident rendering the finale as questionable. It's also awash with clichés, but the crafty Aronofsky is able to mask such issues with smoke and mirror tactics, calling on his skills to avert the eyes with enjoyable visual flourishes that are essential to the tonal flow of his film. Technically all is wonderful and at times rawly lurid, sweeping cameras getting up close and personal, the music, the choreography and the grandiose sets, all impact hard on the viewing experience. While the film's blending of themes opens it up to a wider demographic audience; even if ultimately it's caught in the void between camp horror and serious psychological drama. Away from Portman the support is also crowd pleasing, Kunis is sly and slinky, Cassell is Mephistophelian and Hershey reminds us all that she can act.
It's sure to be a the top of many critics best of lists for 2010/2011, partly for being not of the norm and asking for use of the cranium: and partly because director and lead actors make it compulsive viewing. While it's sure to engage fans of dance and classical music. But after taking off the tutu and slippers, and unwinding with a glass of wine, it shows itself to be a film that's far from flawless, and certainly not the masterpiece that already some insist the film to be. Maybe it should be watched just once and not pored over to truly get the benefit? Maybe? 7.5/10
But, what is the blu-ray like?
Well, it's a new film, so you would expect it to be faultless on blu-ray disc. And apart from one flaw it is. The audio is crisp and clear, the extras are interesting and to the point (I hate it when there are hours of extras without actually anything being useful)the extras include profiles on Natalie Portman and the director Darren Aronofsky, and it also includes the digital copy.
So, what's wrong? Ok, as soon as I started watching the film, I thought I had accidently put in the wrong disc, the picture was like a Dvd disc made ten years ago. But no, I checked it and it was the blu-ray! The picture was nowhere near as good as other blu-rays I own. Maybe the digital copy will be better. Anyway:
5 STARS for the film itself.
5 STARS for the audio quality.
4 STARS for the extras.
3 STARS for the picture quality.
I don't know if this review has helped you but even if the picture quality isn't the best, don't let it put you off, at this price it's worth the buy (unless you already own it on DVD).
Black Swan is phenomenally well acted, dark, and intoxicating - one of the best films of 2011.
Everything is *perfect* - the acting, story, cinematography, soundtrack.
Natalie Portman's performance deservedly received the Academy Award.
I also have the soundtrack on CD and film posters :)
Its the first time I've seen Black Swan and I found it very enjoyable but as has been highlighted elsewhere rather dark