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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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Augustine of Canterbury: In the year 596, some 40 monks set out from Rome to evangelize the Anglo-Saxons in England. Leading the group was Augustine, the prior of their monastery in Rome. Hardly had he and his men reached Gaul (France) when they heard stories of the ferocity of the Anglo-Saxons and of the treacherous waters of the English Channel. Augustine returned to Rome and to the pope who had sent them—St. Gregory the Great (September 3 )—only to be assured by him that their fears were groundless. 
<p>Augustine again set out. This time the group crossed the English Channel and landed in the territory of Kent, ruled by King Ethelbert, a pagan married to a Christian, Bertha. Ethelbert received them kindly, set up a residence for them in Canterbury and within the year, on Pentecost Sunday, 597, was himself baptized. After being consecrated a bishop in France, Augustine returned to Canterbury, where he founded his see. He constructed a church and monastery near where the present cathedral, begun in 1070, now stands. As the faith spread, additional sees were established at London and Rochester. </p><p>Work was sometimes slow and Augustine did not always meet with success. Attempts to reconcile the Anglo-Saxon Christians with the original Briton Christians (who had been driven into western England by Anglo-Saxon invaders) ended in dismal failure. Augustine failed to convince the Britons to give up certain Celtic customs at variance with Rome and to forget their bitterness, helping him evangelize their Anglo-Saxon conquerors </p><p>Laboring patiently, Augustine wisely heeded the missionary principles—quite enlightened for the times—suggested by Pope Gregory the Great: purify rather than destroy pagan temples and customs; let pagan rites and festivals be transformed into Christian feasts; retain local customs as far as possible. The limited success Augustine achieved in England before his death in 605, a short eight years after he arrived in England, would eventually bear fruit long after in the conversion of England. Augustine of Canterbury can truly be called the “Apostle of England.”</p> American Catholic Blog When we go through pain it is easy to feel abandoned or forgotten, but suffering doesn’t mean God doesn’t love us, He does. Even Jesus suffered, and He was completely without sin.

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