The tale of two swans—driven and talented, seeking and chasing perfection whilst ignoring physical limits and psychological limitation—converges within a feeling: who will be better? Darren Aronofsky’s Black Swan is an adaptation of Swan Lake, portraying two characters, Natalie Portman’s Nina and Mila Kunis’ Lily, whose bizarre friendship and intense rivalry revolve around the classic ballet, using it as the backdrop for the psychological torment present in competition, jealousy and envy. In a challenge to play both the innocent and beautiful White Swan and the devilish and seductive Black Swan, performing the deception and deceit of Prince Siegfried, Nina readily captures the essence of the White Swan while Lily is depicted within the Black Swan. The movie is driven by these two dichotomous characters perverted and competitive relationship; Nina’s naïve innocence and ‘nice girl’ façade is juxtaposed against Lily’s subversive and dark demeanour to create Aronofsky’s vision of a women being haunted by her double.
Clint Mansell
The score is a complement to this relationship; one shrouded in technique and tradition mixed with ominous tones and darkness of suspicion. It samples some of Tchaikovsky’s original compositions, drawing on them for the major inspiration, and for obvious dance sequences, but unfolds them with different complexity and fullness. Being categorized as a psychological thriller, the score is heavy in repetitive violin sound that can add suspense and a slight paranoia to each track, especially ‘Power Seduction Cries’. Each track evokes so much emotion—tension, fear, arrogance—that it is practically dripping with the sweat of the audience’s anticipation for climax and desire for resolution. Subtracting the film’s intent, the score, standalone, is beautiful. It is breathtaking—not far from the reaction to the original’s compositions. This turn in high profile films (re: The Social Network) relying strictly on instrumental music to convey a message and layer complexity into the film is refreshing and inspired. Instead of music forcing themes and emotions lyrically, the added subjectiveness of instrumental scores allows films to explore themselves through numerous mediums both explicit and implicit. With this musical veil of obscurity, Black Swan layers itself with a haunting paranoia and frightening suspense caked on the minds of the audience.
Review by Kaitlin McNabb
- A Swan Song for Nina listen
- Perfection listen
- A Swan is Born listen
- It’s My Time listen
- Stumbled Beginnings listen
- Night of Terror listen
- Opposites Attract listen
- The Double listen
- Power Seduction Cries listen
- Cruel Mistress listen
- Lose Yourself listen
- A New Swan Queen listen
- A Room of Her Own listen
- The New Season listen
- Mother Me listen
- Nina’s Dream listen
SoundWorks Collection – The Sound of “Black Swan” from Michael Coleman on Vimeo.