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ON FAITH & MEDIA View Comments

Black Swan

By
John Mulderig
Source: Catholic News Service

"The road of excess," claimed the poet William Blake, "leads to the palace of wisdom." For the main character in "Black Swan" (Fox Searchlight) -- director Darren Aronofsky's nightmarish, morally muddled drama set in the highly demanding world of classical ballet -- that well-worn path leads to a very different destination.

Consumed by dedication to her art, dancer Nina (Natalie Portman) longs to play the dual leading roles of the White and Black Swans in her company's forthcoming production of Peter Ilyich Tchaikovsky's "Swan Lake." Though artistic director Thomas (Vincent Cassel) considers the shy and inhibited but gifted performer perfect for the pure White Swan, he doubts her ability to carry off the part of the villainous Black Swan, an onstage embodiment of guile and sensuality.

So Thomas urges Nina to get in touch—in the first instance, quite literally—with her sexuality.

To do so, however, Nina must rebel against her strict, overprotective mother Erica (Barbara Hershey), with whom she still lives. A former ballerina whose career went nowhere, Erica is obsessed—or so at least it seems to Nina—with fulfilling her dreams of success vicariously through her daughter.

Nina gains a role model in hedonistic living—and a rival for center stage—when passionate newcomer Lily (Mila Kunis) joins the troupe. Their much-talked-about bedroom encounter—the culmination of a night of drunken and drug-fueled carousing—marks the nadir of the film's voyeuristic excess.

Though Portman turns in a striking performance, teeter-tottering on the edge of sanity, Mark Heyman, Andres Heinz and John McLaughlin's script plays on the extremes of sexual repression and debauched license, ignoring the healthy middle ground of erotic love expressed within a committed marital relationship.

Whether read as insisting on the necessity of indiscriminate experience or as a cautionary tale weighted in the opposite direction—Nina's fate sadly parallels that of the tragic White Swan—this dark fable presents its heroine's experimentation far too graphically.

The film contains strong sexual content, including graphic lesbian and nonmarital heterosexual activity, as well as masturbation, drug use, a few instances of profanity, much rough and some crude language and numerous sexual references. The Catholic News Service classification is O—morally offensive. The Motion Picture Association of America is R—restricted. Under 17 requires accompanying parent or adult guardian.

*****
John Mulderig is on the staff of Catholic News Service.


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Anthony Claret: The "spiritual father of Cuba" was a missionary, religious founder, social reformer, queen’s chaplain, writer and publisher, archbishop and refugee. He was a Spaniard whose work took him to the Canary Islands, Cuba, Madrid, Paris and to the First Vatican Council. 
<p>In his spare time as weaver and designer in the textile mills of Barcelona, he learned Latin and printing: The future priest and publisher was preparing. Ordained at 28, he was prevented by ill health from entering religious life as a Carthusian or as a Jesuit, but went on to become one of Spain’s most popular preachers. </p><p>He spent 10 years giving popular missions and retreats, always placing great emphasis on the Eucharist and devotion to the Immaculate Heart of Mary. Her rosary, it was said, was never out of his hand. At 42, beginning with five young priests, he founded a religious institute of missionaries, known today as the Claretians. </p><p>He was appointed to head the much-neglected archdiocese of Santiago in Cuba. He began its reform by almost ceaseless preaching and hearing of confessions, and suffered bitter opposition mainly for opposing concubinage and giving instruction to black slaves. A hired assassin (whose release from prison Anthony had obtained) slashed open his face and wrist. Anthony succeeded in getting the would-be assassin’s death sentence commuted to a prison term. His solution for the misery of Cubans was family-owned farms producing a variety of foods for the family’s own needs and for the market. This invited the enmity of the vested interests who wanted everyone to work on a single cash crop—sugar. Besides all his religious writings are two books he wrote in Cuba: <i>Reflections on Agriculture</i> and <i>Country Delights</i>. </p><p>He was recalled to Spain for a job he did not relish—being chaplain for the queen. He went on three conditions: He would reside away from the palace, he would come only to hear the queen’s confession and instruct the children and he would be exempt from court functions. In the revolution of 1868, he fled with the queen’s party to Paris, where he preached to the Spanish colony. </p><p>All his life Anthony was interested in the Catholic press. He founded the Religious Publishing House, a major Catholic publishing venture in Spain, and wrote or published 200 books and pamphlets. </p><p>At Vatican I, where he was a staunch defender of the doctrine of infallibility, he won the admiration of his fellow bishops. Cardinal Gibbons of Baltimore remarked of him, "There goes a true saint." At the age of 63, he died in exile near the border of Spain.</p> American Catholic Blog The greatest tragedy of our world is that men do not know, really know, that God loves them. Some believe it in a shadowy sort of way. If they were to really think about it they would soon realize that their belief in God’s love for them is very remote and abstract. Because of this lack of realization of God’s love for them, men do not know how to love God back. —Catherine de Hueck Doherty

 
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