Black Swan is a 2010 American psychological horror film directed by Darren Aronofsky. The screenplay was written by Mark Heyman, John McLaughlin, and Andres Heinz, based on an original story by Heinz. The film stars Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey, and Winona Ryder. The plot revolves around a production of Tchaikovsky's Swan Lake ballet by the prestigious New York City Ballet company. The production requires a ballerina to play the innocent and fragile White Swan, for which the committed dancer Nina (Portman) is a perfect fit, as well as the dark and sensual Black Swan, which are qualities better embodied by the new arrival Lily (Kunis). Nina is overwhelmed by a feeling of immense pressure when she finds herself competing for the part, causing her to lose her tenuous grip on reality and descend into a living nightmare.
Black Swan | |
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Directed by | Darren Aronofsky |
Produced by |
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Screenplay by |
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Story by | Andres Heinz |
Starring |
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Music by | Clint Mansell |
Cinematography | Matthew Libatique |
Edited by | Andrew Weisblum |
Production companies |
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Distributed by | Fox Searchlight Pictures |
Release date |
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Running time | 108 minutes |
Country | United States |
Language | English |
Budget | $13 million |
Box office | $329.4 million |
Usually described as a psychological horror film, Black Swan can be also interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter, i.e. "the film can be perceived as a poetic metaphor for the birth of an artist, that is, as a visual representation of Nina's psychic odyssey toward achieving artistic perfection and of the price to be paid for it."
Aronofsky conceived the premise by connecting his viewings of a production of Swan Lake with an unrealized screenplay about understudies and the notion of being haunted by a double, similar to the folklore surrounding doppelgängers. Aronofsky cites Fyodor Dostoyevsky's The Double as another inspiration for the film. The director also considered Black Swan a companion piece to his 2008 film The Wrestler, with both films involving demanding performances for different kinds of art. He and Portman first discussed the project in 2000, and after a brief attachment to Universal Studios, Black Swan was produced in New York City in 2009 by Fox Searchlight Pictures. Portman and Kunis trained in ballet for several months prior to filming, and notable figures from the ballet world helped with film production to shape the ballet presentation.
The film premiered as the opening film for the 67th Venice International Film Festival on September 1, 2010. It had a limited release in the United States starting December 3, 2010 and opened in wide release on December 17. The film received positive reviews from critics who praised Portman's performance and Aronofsky's direction. The film grossed over $329 million worldwide, and received five Academy Award nominations, including for Best Director and Best Picture; Portman won the award for Best Actress for her performance in the film, in addition to many other accolades.
Screenplay
Nina Sayers is a 28-year-old dancer in a New York City ballet company, which is preparing to open its new season with Tchaikovsky's Swan Lake. With prima ballerina Beth MacIntyre being forced into retirement, artistic director Thomas Leroy announces he is looking for a new dancer to portray the dual role of the innocent White Swan and the sensual Black Swan. Nina auditions for the role and gives a flawless performance as the White Swan, but fails to embody the Black Swan.
The following day, Nina asks Thomas to reconsider choosing her to play the role. When he forcibly kisses her, she bites him before running out of his office. Later that day, Nina sees the cast list and discovers, much to her surprise and that of her overprotective mother Erica, she will be portraying the lead. At a gala celebrating the new season, an intoxicated Beth confronts Nina, accusing her of sleeping with Thomas to get the role. The following day, Nina discovers that Beth was hit by a car while walking in the street and Thomas believes she did it on purpose.
During rehearsals, Thomas tells Nina to observe new dancer Lily, whom he describes as possessing an uninhibited quality that Nina lacks. Nina also falls victim to several hallucinations of a doppelgänger following her wherever she goes and finds unexplained scratch marks on her back. One night, Nina accepts Lily's invitation to dinner despite Erica's objections.
Over dinner, Lily offers Nina an ecstasy capsule to help her relax. Nina turns it down, but later accepts a drink laced with ecstasy powder. The two dance at a nightclub and return to Nina's apartment late. After fighting with her mother, Nina barricades herself in her room and has sex with Lily. The following morning, Nina wakes up alone and realizes she is late for the dress rehearsal. Upon arriving at Lincoln Center, she finds Lily dancing as the Black Swan and confronts her about their night together. When Lily doesn't recall, Nina realizes that their encounter never took place.
After learning that Thomas has made Lily her alternate, Nina's hallucinations grow increasingly stronger to the point where Erica tries to prevent her from performing on opening night. Nina forces her way out of the apartment and arrives at Lincoln Center only to discover that Lily is set to take over. She confronts Thomas, who becomes so impressed by her confidence that he allows her to perform.
During the end of the play's second act, Nina becomes distracted by a hallucination, causing her partner to drop her. She returns to her dressing room and finds Lily preparing to play the Black Swan. When Lily transforms into Nina's doppelgänger, the two engage in a fight that ends with Nina stabbing the doppelgänger with a shard of glass, only to reveal that it had actually been Lily who had been stabbed. She hides the corpse and returns to the stage, where she loses herself and gives a flawless performance as the Black Swan.
Nina receives a standing ovation from the audience and, after surprising Thomas with a passionate kiss, returns to her dressing room. While changing, Nina hears a knock at the door and opens it to find Lily alive and congratulating her. Realizing the fight never occurred, and yet the mirror is still broken, and that she had stabbed herself, Nina quietly continues changing.
After dancing the final act, in which the White Swan attempts to commit suicide by throwing herself off a cliff but instead falls onto a hidden mattress, the theater erupts in thunderous applause and Thomas, Lily, and the cast gather to congratulate Nina. They then discover that she is bleeding profusely. Thomas orders some of the dancers to go get help and frantically asks Nina what she did. Nina replies to him that her performance was perfect and loses consciousness as the screen slowly fades to white.
During the closing credits, the major cast members were credited both as their film characters as well as their corresponding characters from Swan Lake.
- Natalie Portman as Nina Sayers / The Swan Queen
- Mila Kunis as Lily / The Black Swan
- Vincent Cassel as Thomas Leroy / The Gentleman
- Barbara Hershey as Erica Sayers / The Queen
- Winona Ryder as Elizabeth "Beth" MacIntyre / The Dying Swan
- Benjamin Millepied as David Moreau / The Prince
- Ksenia Solo as Veronica / Little Swan
- Kristina Anapau as Galina / Little Swan
- Janet Montgomery as Madeline / Little Swan
- Sebastian Stan as Andrew / Suitor
- Toby Hemingway as Thomas "Tom" / Suitor
Conception
Darren Aronofsky first became interested in ballet when his sister studied dance at the High School of Performing Arts in New York City. The basic idea for the film started when he hired screenwriters to rework a screenplay called The Understudy, which portrayed off-Broadway actors and explored the notion of being haunted by a double. Aronofsky said the screenplay had elements of All About Eve, Roman Polanski's The Tenant, and Fyodor Dostoyevsky's novella The Double. The director had also seen numerous productions of Swan Lake, and he connected the duality of the White Swan and the Black Swan to the script. When researching for the production of Black Swan, Aronofsky found ballet to be "a very insular world" whose dancers were "not impressed by movies". Regardless, the director found active and inactive dancers to share their experiences with him. He also stood backstage to see the Bolshoi Ballet perform at the Lincoln Center for the Performing Arts.
Aronofsky called Black Swan a companion piece to his previous film The Wrestler, recalling one of his early projects about a love affair between a wrestler and a ballerina. He eventually separated the wrestling and the ballet worlds as "too much for one movie". He compared the two films: "Wrestling some consider the lowest art—if they would even call it art—and ballet some people consider the highest art. But what was amazing to me was how similar the performers in both of these worlds are. They both make incredible use of their bodies to express themselves." About the psychological thriller nature of Black Swan, actress Natalie Portman compared the film's tone to Polanski's 1968 film Rosemary's Baby, while Aronofsky said Polanski's Repulsion (1965) and The Tenant (1976) were "big influences" on the final film. Actor Vincent Cassel also compared Black Swan to Polanski's early works and additionally compared it to David Cronenberg's early works.
Casting
Aronofsky first discussed with Portman the possibility of a ballet film in 2000, and he found she was interested in playing a ballet dancer. Portman explained being part of Black Swan, "I'm trying to find roles that demand more adulthood from me because you can get stuck in a very awful cute cycle as a woman in film, especially being such a small person." Portman suggested to Aronofsky that her good friend Mila Kunis would be perfect for the role. Kunis contrasted Lily with Nina, "My character is very loose ... She's not as technically good as Natalie's character, but she has more passion, naturally. That's what lacks." The female characters are directed in the Swan Lake production by Thomas Leroy, played by Cassel. He compared his character to George Balanchine, who co-founded New York City Ballet and was "a control freak, a true artist using sexuality to direct his dancers".
Portman and Kunis started training six months before the start of filming in order to attain a body type and muscle tone more similar to those of professional dancers. Portman worked out for five hours a day, doing ballet, cross-training, and swimming. A few months closer to filming, she began choreography training. Kunis engaged in cardio and Pilates, "train seven days a week, five hours, for five, six months total, and ... was put on a very strict diet of 1,200 calories a day." She lost 20 pounds from her normal weight of about 117 pounds, and reported that Portman "became smaller than I did." Kunis said, "I did ballet as a kid like every other kid does ballet. You wear a tutu and you stand on stage and you look cute and twirl. But this is very different becau
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