Post Five- Film Review

Black Swan

 

In his thrilling psychodrama, Black Swan, Darren Aronofsky successfully blackens the idyllic preconceptions of ballet in his modern day film noir. Nominee of 14 awards and winner of 3 including best director and best film, Black Swan provides an intriguing opening to the 2010 Venice Film Festival.

The film centres on Nina, a beautiful anxious ballet dancer played by Natalie Portman. She strives for perfection but in doing so has become susceptible to mental illness which is heightened further by her controlling and equally fragile mother who relentlessly reminds Nina of the ballet career she herself abandoned to become a mother. The casting director, played by Vincent Cassel, is looking for a new swan queen to replace the ageing and tremendously bitter, Beth MacIntyre played by Winona Ryder. In order to dance her dream part, swan queen in Tchaikovsky's Swan Lake she is required to embody both the black and the white swan. Figuratively and visually, she is already the white swan with her porcelain skin and apprehensive nature but she needs to develop an alter ego that embraces the corrupt nature of the black swan. In cinematic terms, she needs to become the princess and the femme fatale. Lily, played by Mila Kunis, embodies everything Nina requires to become the black swan. She is late, inaccurate, bolshie and overtly sexual; everything Nina is not. In her quest to find her inner ‘black swan’ she labels Kunis a threat after she is told to admire her ability to ‘let herself go’ and develops severe paranoia that she too will be pushed out, like the queen before her.

Nina leads a sheltered virginal life which is emphasised further through the pink and fluffy aesthetics in her juvenile bedroom. After her formal announcement as Swan Queen, Cassel urges Nina to go home and ‘touch herself’ in an attempt to find her inner sexuality and passion. Lily is determined to befriend Nina and loosen her sexual inhibitions but it is unclear whether their friendship is genuine or whether Lily has an alter motive. This confusion is amplified by the extreme nature of Nina’s paranoia. Nina develops a small rash on her shoulder which worsens with the regression of her madness.  As Nina’s condition deteriorates, Aronofsky superimposes Nina’s face on other bodies for a split second, emphasising her fragile mental health. Nina also experiences vivid hallucinations including self harming, sexual encounters and murder. Black Swan addresses universal fears and amplifies them with an appropriately perverse soundtrack. Playing on a woman’s breakdown, Nina alienates herself from all she knows in order to embrace her own black swan, using sex, drugs and alcohol to assist her. She becomes a woman of no remorse, ensuring no one stands in the way of her dream, especially not her mother. She begins to feel increasingly unsafe, even in her own home where she feels the need to barricade her bedroom door. 

Aronofsky creates an unusual but fitting film, combining the delights of high cultured ballet with the erotica, illness, drugs and death. Nina’s disease makes it increasingly difficult to decipher between her reality and her illness which adds to the fantastical and bizarre plot of the film. Aronofsky concerned himself with portraying Nina’s deterioration and appeared to be particularly fond of mirrors which symbolise confusion and split personalities. Aronofsky’s previous film, The Wrestler (2008) has similarities to Black Swan in that by striving for professional perfection they ultimately sacrificed their own happiness. Portman delivers an admirable performance, at last exhibiting her true ability in this dark and thrilling production. For her role as Nina she was duly nominated for 17 awards and became the deserving winner of 9 including a BAFTA and a Golden Globe for best actress.

Verdict

Black Swan is a provocative, hedonistic experience and perhaps not for everyone. In order to appreciate the erratic nature of the film, logical thought needs to be cast aside to make space for this exhilarating and often frightening psychological ride.

Task 4- Ideologies and film

In general terms, an ideology is defined as “The influential underlying social and political beliefs of a society or social group.” (2005, p.498)  Examples of ideologies could include religion and political views such as Marxist or capitalist which enable people to understand how the world has progressed to its current state and how it is going to progress. Ideologies are present in every film through either dominant expression or implication; Explicit and implicit. To explain these definitions further, most films contain implicit ideologies which accept and embrace set beliefs which are not acknowledged or identified within the film.  On the other hand, explicit ideologies make bold, unavoidable statements, quite often about the corruption of current ideologies.

Pretty Woman (1990) is a perfect example of a film with various implicit ideologies. The plot of the film involves a young prostitute who is hired for the night by a very wealthy business man who later offers to pay her for a week long stay. He overwhelms her with money for clothes which enables her to dine at the best restaurants and ultimately provides her with class. They both live happily ever after. Pretty Woman is based upon the typically American work ethic that ‘if you work hard enough, you’ll get there’ and also further portrays America as ‘The land of dreams.’ Both of these ideologies are apparent within the plot; Vivian (Julia Roberts) works hard and receives her rewards of man and money. It could also be argued that the film exudes chauvinistic, sexist qualities with Vivian in debt from working the streets and requiring a powerful rich man to improve her quality of life. Capitalist ideologies can also be found throughout the film as well as a great emphasis on money. Except for Vivian, the rich become richer, and the poor remain poor which generates the concept of hope that perhaps a ‘Vivian’ situation could arise in reality. 

Contrary to Pretty Woman, Sicko (2007) directed by Michael Moore explicitly destroys the idea of the American dream. Through documentary film, Moore criticises every area of the American health care system, or lack of it. He presents numerous examples of people who have continually been let down by their health insurance which, for many, resulted in death. The American government have consistently condemned the idea of a National Health Service arguing that the people should not be put under a dictatorship and that they have the right to decide what treatments they wish to use. Moore presents evidence that portrays that if a National Health Service was put in place it would hugely reduce revenue for the government but improve American’s quality of life. Moore criticises nearly all America stands for, conveying the country as a capitalist, dishonest, money obsessed farce. His extensive research is apparent as he gives the exact figures that eventually bought Hilary Clintons silence as she battled for a national health service. His tone is sarcastic and mocking towards American ideologies as he questions why people consider America a great country. To amplify his mocking tone, there is inspiring background music, the type that would be associated with a political speech or the national anthem.    

 

Pretty Woman idolises the American culture, portraying it as a land where dreams come true. Sicko, on the other hand destroys and condemns American ideologies, portraying it as a culture which prioritises profit over American lives.  

Task Three- Films that conform or subvert to Hollywood mainstream standards

The general objective behind a Hollywood mainstream film is to generate money, after all Hollywood is a successful business. In order to make a substantial profit the films must conform strictly to the standards followed by every other Hollywood film. Films that do not comply with Hollywood’s dictatorship are known as counter cinema films and these films do not wish to conform to the standardized Hollywood practice. 

Andrea Arnold wrote and directed her first film Red Road in 2006 which won her a BAFTA for best newcomer in 2007. The main character works as a CCTV operator in Glasgow and develops compassion and care for those she sees everyday through the cameras. The film centres on revenge and obsession and is often filmed through the CCTV cameras, ensuring the audience are kept at a distance. The DVD cover for Red Road reveals very little about the films genre, a classic characteristic amongst counter cinema films. Unlike a conventional Hollywood film, the relationship between the two main characters is initially unclear, she stalks and eventually sleeps with him so she can frame him for rape because he killed her daughter and husband and she wants him returned to jail. The main character, Kate Dickie, has harsh, stern facial features which discourages the audience to engage with her character. Red Road is a documentary style film re-enacting real life scenarios in the harsh light of Glasgow’s Red Road tower blocks.

Red Road does not desire sympathy nor does it try to engage with the audience, the audience are not transported to a fantasy world: they are brought into a grim reality. Although the main characters occupation involves spying on strangers every day, the audience are made to feel like the voyeurs.  The film would not be considered pleasurable but instead interesting; watching this through the eyes of a voyeur can engage voyeuristic characteristics which encourage curiosity to find out what happens. It is also useful to note that Red Road did not concern itself with money, unlike every Hollywood film. The characters were introduced with very little and concluded with just the same.

Unlike Red Road, Pretty Woman (1990) directed by Garry Marshall and starring Richard Gere and Julia Roberts is the typical sexist, materialistic, high budget Hollywood film that many people confess to adore. Myself included. This film embodies everything that is considered Hollywood; the hope, the damsel, the hero and the money. The female is portrayed as weak and helpless; a common portrayal within Hollywood films. She is assisted by her hero (Richard Gere) who takes her shopping immediately and as the film continues, they fall in love. Pretty Woman is logical and predictable with the audience immediately feeling attached and connected to Vivian Ward (Julia Roberts) and her life. An escapist production, the film allows the audience to empathise with Vivian and her warm, if not slightly simple, nature.  Ironically, despite the women within the film appearing simple, dependent and futile without a man in their lives, the films fan base primarily consists of women. From the trailer, the DVD cover and the title, the film is instantly recognised as a romance. The film concludes with a happy generic ending, the prostitute and the lawyer living happily ever after and the audience suitable satisfied.

Hollywood films continue to sell and generate substantial revenue. To display the extent of this, since its release in 2006 Red Road has generated $1,128,345 worldwide. Pretty Woman has generated $465,406,268 worldwide.

 

http://www.imdb.com/title/tt0471030/

http://www.film4.com/reviews/2006/red-road

http://www.guardian.co.uk/film/2006/oct/27/thriller

http://www.guardian.co.uk/film/2006/oct/18/londonfilmfestival2006.londonfilmfestival1

http://worldfilm.about.com/od/britishfilms/fr/redroad.htm

http://boxofficemojo.com/movies/?id=redroad.htm

http://boxofficemojo.com/movies/?id=prettywoman.htm

All accessed 02/03/2011

Post Two- Tim Burton the Auteur

A pioneer in the art of gothic romanticism, Tim Burton could easily be considered for the title of auteur. Burton’s films are instantly recognisable with his distinguishable dark style and familiar themes. Using his favourable technique of stop motion, Burton has a way of bringing dreams to life through the use of his untamed imagination. Burton began his career as an animator and in 1976 won a scholarship for the California Institute of the Arts, a college founded by Walt Disney.  He worked as an animator on the children’s animation The Fox and the Hound (1981) but his real passion was for the dark and beautiful misfits of society, and this charming fox was not one of them. Voicing his dislike for creating the generic Hollywood characters, he was soon given more freedom and from there his yearning for the weird and wonderful flourished. One particular theme that continues through Burtons films is the concept that the main character is a misfit within society. Burton develops this characters appearance, body language, speech and skills to create the impression of someone who is ostracised from society. A perfect example of this is Burtons original misfit ‘Edward Scissorhands’, released in 1990 and portraying a man with hands made out of scissors and shears who experiences extreme social isolation because of his disability which leaves him ostracised from society.  

Burton’s forte and great passion lies in the art of creating stop motion films.

 “There is something about stop-motion that gives it an energy that you don’t’ get in any other form.”                                                                                                                     

 http://minadream.com/timburton/Animation.htm
[Accessed 01/03/2011]

In 1993 Burton brought stop motion back to the forefront of the cinema with ‘The nightmare before Christmas.’  The film was based on a poem Burton had written in the 1980’s but had been to pre-occupied to take the poem further until 1993. Despite being written by Burton, the film was actually directed by Henry Selick.

 "If I had [directed it], I'd be dead before I ever saw the final version... the reason I originally got out of animation is because I didn't have the patience for it...”

http://www.filmsoftimburton.com/chapter3.html
[Accessed 28/02/2011]

This magical and enlightening film appeals to both children and adults by delivering an underlying message of how to be content in a tough world, again using Burton’s signature theme of a misfit character.  

Edward Scissorhands (1990) is considered to be Burton’s signature film embracing his common theme of a misfit character who appears strange and unapproachable but only wishes to be embraced. The storyline apparently reflects Burton’s feelings of isolation during his own upbringing in California where he must have considered himself the misfit of the community. It was this film that encouraged the professional relationship between Burton and Johnny Depp who have since worked together in six Hollywood films over two decades.  

 Please excuse the subtitles! 

Alice and Wonderland (2010) was Tim Burtons most recent film, an adaptation of the children’s story originating from the 1865 novel by Lewis Carroll. Yet another collaboration with Johnny Depp, the film tells the story of Alice returning to the wonderland she first visited in her childhood. The film itself is rich with colour, imagination and fantasy. The film also stars Helena Bonham Carter, who is another reoccurring actress and who is also personally involved with Burton.  The film was clearly greatly received being the second highest grossing film of 2010 and the sixth highest grossing film of all time.

References

http://filmsdefrance.com/FDF_gmelies.htmlv

http://www.filmsoftimburton.com/

http://www.earlycinema.com/pioneers/melies_bio.html

http://www.caseylamarca.com/auteur_theory_7.html

http://www.youtube.com/

All accessed 28/02/2011