I have seen Black Swan!
And I have major issues! With the way the movie portrays Ballet Costumes! Clearly the ladies of Rodarte don’t know thing one about ballet, because Thing One is: no textured details around tutu waists! For two reasons! Reason A: aesthetics. Bulk at the waist creates a bulky waist. (I mean, that’s a no duh, right?!) Reason 2 and most importantly: a major contact point in partnering is the waist. The male dancer holds her waist to lift her, turn her, catch her, and how’s he gonna do all that with a bunch of fluff and sharp edges in the way? It’s justplain dangerous and irresponsible! And furthermore, Rant rant Rant Rant rant rant Rant rant-
-ok, I’m just going to stop myself there because I’m actually trying to make a different point:
No matter how valid my complaints based on my expertise in the field may be, they have Nothing To Do With The Movie.
Likewise, People of Ballet, complaints you may have about the unrealistic way the movie portrays the world of ballet to outsiders may be totally valid as they are based on real experience in the field, but they have Nothing To Do With The Movie.
(oh snap, see what I did there?)
It’s a movie.
Like all good movies, it’s not really about the surface material.
Let’s look at Bigelow’s The Hurt Locker, as an example. The Hurt Locker is set in the Iraq War. There are tons of war details which I’m sure one could argue are inaccurate, and may give a negative impression of Iraq, or the American Army, or bomb squads, or war in general, but- the movie is not really about war, it’s about much deeper stuff.
I saw it as a metaphor about addiction to risk, other people probably got other things out of their viewing, but the point is, the director is working through an idea. The world of war best allowed her to get her idea across.
Likewise, the world of professional ballet allowed Aronofsky to work through his idea.
I saw infantilism, really nicely summed up with the fingernail scissors, -I mean, you only use those things on babies-;fear of maturity as showed by both the sexual anxiety and the expulsion of the beautiful-but-older dancer; paranoia, not just in the constant watching eyes of Nina’s mother, coworkers, mirror, and audience but also in the excellent way the camera would chase after her from a viewpoint right behind her bun, practically predator-cam style, and some other ideas I’ll have to roll around in my head some more, like is the bloody ending referencing that classic horror movie theme of sex equals death? It the wound a hymen reference? Her first time is her last time?
I have read a lot of reviews expressing worry that Black Swan will give the general public a bad impression of professional ballet, to which I say no, it will give the general public a bad impression of Crazy Ass Whacked-Out Ultra-Perfectionists, no matter what profession.