The Venetian film festival has opened a picture “ the Black swan “
67 - j the Venetian film festival has begun a competitive film of Darrena Aronofski “ the Black swan “. On a profit premiere, except the director, a star of a film of Natali Portman and Vensan Kassel.
Aronofski - the director unpredictable, and a picture waited in an anticipation of a new surprise. It debuted very strongly: “ the Requiem for dream “ and to this day remains the brightest statement against drugs. But already “ the Fountain “ shown in Venice in 2006, was purely formal exercise overloaded with fantastic incongruities. But “ Restler “ it has suddenly appeared a laconic monodrama on the means, new opening faded was Mikki Rourke`s talent and revelation for Venice which has handed over to the director “ the Gold lion “.
the Next turn should designate “ the Black swan “ - The director named its psychological thriller. Already the first chords of music of Tchaikovsky adjusted on a raised harmony. But long to stay in such condition to us have not given: this cinema modern, it is accepted to break all clothes. Aronofski breaks a romantic crape from the ballet world.
From summaries it is known that a picture - about a furious competition on a ballet scene: young ballerina Nina replaces the drawn tonic, besides to dance Odettu - Odilliju in innovative statement “ Swan lake “ the newcomer in troupe applies Poured.
But it only a plot blanket. Actually it is history how sensuality clears up in the person of uncontrollable internal demons. Ballet of sensuality is traditionally deprived: it more often a series of effective supports, but in any way erotic interaction between the man and the woman. With such understanding of ballet hero Vensana of Kassel choreographer Thomas argues: He tries to clear sensuality in Nina`s frigid dance.
Further without details, differently there will be a spoiler. I will tell only that the cleared up Nina should pass through all circles of a hell where Aronofski is generous and, I believe, intentionally uses stamps of a naturalistic horror film and a spicy sensuality, including the lesbian. Realistic first the plot quickly and densely acquires far-reaching metaphors, and already to the picture middle it is impossible to distinguish, where a real course of events and where demons to death battle. After all and heroines of ballet of Odetta and Odillija symbolise the light and dark parties of one soul - is not casual at good theatres two contrast parties one performer dances. It became a push for a drama offered us where fragile Nina as though forks, and wins, of course, the dark beginning.
Ballet - art conditional and metaphorical, it - the sphere of storming imagination, and this genre code of Aronofski uses excellent: We have received a film without borders between felt and valid. What illness amazes the bleeding Nina as its friends in the intrigues far come, and whether there is all it is a fruit of sick imagination - it is necessary to solve to each spectator individually,
Admires the professional approach to business. Natali Portman not studying in ballet manages to simulate perfectly not easier dance, but dance outstanding. Vensan Kassel in perfection transfers specific plasticity of people of a ballet trade. And the director, having acquired lessons not only Foss`s Bean in “ All this jazz “ but also Basbi of Berkeley in uncountable films “ a golden time “ the American musical, forces to dance and the chamber - it is included in the general choreography of this cinema ballet. The episode where makabricheskaja Odillija, the demon in a flesh, in vortical fuete acquires feathers and becomes a black swan, on the fascination will enter into classics of musical cinema.
General impression - mixed. Cinema extremely entertaining, but overloaded with banalities. It is bulky effective, but in the dry rest not too substantial. Undoubtedly deserving viewing, but not festival prizes. Not casually it have put on festival opening. I do not remember a case that films of the first days of film competitions of Venice, Kanna or Berlin appeared among winners. The Russian tape “ Porridge “ will go for the fourth day of competition that deduces it from a zone zaplanirovanno hopeless, but usually managements of festivals, swearing that all here solves a lot, the bargaining chips spread last days.
has hors concours passed Robert Rodriguez new film and Etana Manikuisa “ Machete “ - one of the few here the tapes lighted on screens of the world. Rodriguez already has had time to forget the statements where he recognised harmful influence of insurgents on souls and forbade the children to look own pictures. “ Machete “ - its overdue echo from Tarantino of the old project “ Grindhaus “ which sense in style imitation “ criminal smotriva “ 70 - h years, cheap tapes of a category “ “ on which both directors have grown. Therefore a caption “ Machete “ go on as though old scratched film.
the Film represents an attraction for fans of shooting and krovjanki, it has concentrated in itself(himself) the maximum quantity of receptions of a genre “ an action “ where each shot - repetition mnogazhdy passed. On a plot the former officer of investigation by a nickname of Machete (it plays monstropodobnyj Denni Treho) is employed to kill the senator (Robert De Niro) opposing “ come in large numbers here “ the Mexican illegal emigrants. At the moment of a shot the new intrigue twists, and it should revenge now were podelnikam. Genre receptions are worked purely: Revolvers are chopped off together with a hand shooting, naked maidens easily wet experienced fighters, and machete it appears the weapon more strongly a machine gun. Such cinema has a audience, but Rodriguez of times “ Children of spies “ it was right: sat down on “ smotrivo “ the spectator ceases to perceive cinema as art. Approximately as the listener who has sat down on fate, is not so capable to perceive the present music: it glohnet, its receptors become dull and react only on loud and rough.
the Film in Venice is shown hors concours. And it is correct: Tarantino would give to it “ the Gold lion “ without reflecting.
I already wrote that the Venetian festival represents now a building site. A festival palace promised to erect in accelerated tempo by 2011, but, digging a hole under the base, builders have found out plates of poisonous asbestos. They should be dismantled, and it has detained building. Now waste ground with the lonely bulldozer promise to transform into a palace by 2012.
It became known that Marko Muller heading Mostru the seventh year, holds the last festival: term of its contract expires, and the director is going to return to producer activity. So the new palace, a fruit of its diligence and a subject of its dream, will open already without it.