Darren Aronofsky’s ballerina-crackup drama Black Swan opens with a dream sequence in which a wispy-boned young woman twirls and flutters to the strains of Tchaikovsky’s Swan Lake. She dabs at the stage with her dainty pink shoes, the stage lights shining through her all-too-translucent tutu. Suddenly, a figure appears from the darkness — why, it’s a handsome male dancer dressed all in black! He looks really nice, not scary at all, but wouldn’t you know it? Suddenly, he turns into a swaggering black swan, flapping his arms all masculine-like and threatening to take our little cygnet — who we now can see is Natalie Portman — doggy-style. What ever could this dream mean? One thing’s for sure: It ain’t about dancing poultry.
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REVIEW: Black Swan Takes Its Own Hifalutin’ Hokum Way Too Seriously
