Find yourself, lose yourself
Black Swan shows the best and worst extremes of art and letting go
BY MICHELLE MORRA-CARLISLE – As the closing credits for Black Swan started rolling, the woman I was sitting next to turned to me and said, “Weird, eh?”
Yes, the darling ballerina who first graced the screen had gone off the artistic deep end. There comes a point in Black Swan where everyone in the theatre realizes it’s more than just a movie about an angst-ridden dancer. We fidget, uncomfortably bracing ourselves for what’s next.
Natalie Portman’s character, Nina Sayers, is a disciplined dancer whose entire focus is on keeping it together. That means being sweet enough to keep her unstable and manipulative mother (Barbara Hershey) from unraveling, quiet enough not to elicit the wrath of her catty fellow dancers, and having full control over her every ballet move. That self-discipline makes her the ideal White Swan for Swan Lake – her big break – but her choreographer Thomas Leroy (Vincent Cassel) doubts her ability to embody the sensual darkness of the Black Swan. In a grueling rehearsal, the sexy and cruel Thomas says, “Perfection is not just about control. It’s also about letting go.”
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14. Jan, 2011 
















