Peter Feldman: Black Swan tops the list of openings this week with a superb, Oscar-nominated performance by Natalie Portman.
Cast: Natalie Portman, Mila Kunis, Vincent Cassel, Winona Ryder
Natalie Portman, a fine, sensitive actress, gets the role of a lifetime with Black Swan, where she carves this horror-drama hybrid into a challenging web of competitive intrigue. She’s been nominated for an Oscar for the role, one of several the film has garnered.
Under the artful direction of Darren Aronofsky, “The Wrestler” and “Requiem for a Dream”), this psychological thriller set in the world of the New York City Ballet, focuses on a disturbed ballerina, Nina Sayers, and her descent into madness, brought about by the pressures of artistic perfection. It is a dark side which Portman unveils here in a production that is handled with depth, wit and intelligence.
The role that Nina obsesses about more than any other is that of the Swan Queen in a sexy re-imagining of the ballet Swan Lake by artistic director Thomas Leroy (Vincent Cassel). However, while Nina's technical proficiency makes her the perfect choice for the White Swan, she lacks the spontaneity and seductiveness necessary for the Black Swan. Perfect for that role is Lily (Mila Kunis), a newcomer from San Francisco who oozes sexuality. Ultimately, Leroy selects Nina over Lily with the hope that his new top performer will grow into the role. But Nina is a psychological wreck.
A fascinating aspect of Black Swan is the many facets within Andrés Heinz’s story and there is a little something in it for all, whether one’s tastes run to vulgarity or elegance, or whether one prefers horror to ballet.
Aronofsky returns to some of his favourite themes, such as monster mothers and female hysteria, and applies some deft touches in executing his vision.
Portman is superb as the fragile young hopeful who is overtaken by unsettling fantasies and eerie events as she prepares for the greatest role of her young life. She is complemented by a striking group of fellow players, the vibrant Mila Kunis as her rival, Lily, introducing elements of brashness and dark charm to her role as the overly ambitious newcomer.
French actor Vincent Cassel portrays the Machiavellian Thomas Leroy, the artistic director who is all about the art and is not too concerned about the victims he leaves behind.
Barbara Hershey, who hasn’t graced cinema screens for a while, rockets back as Nina’s control-freak mother, Erica, a woman who forsook her own ballet career to have a child, something she throws into Nina’s face during one heated argument.
Another rare appearance is that of Winona Ryder, as Beth, whose shining star as principal ballerina of the company has dimmed to such a degree that she goes off the rails. It a small part, but her scenes are telling ones.
“Black Swan” has been likened to a cross between “All About Eve” and “The Red Shoes,” with a pinch of Brian de Palma and David Cronenberg.
Americans will be more familiar with the names Valerie Plame and Joe Wilson than we South Africans.
Valerie (Noami Watts) was a real-life undercover CIA operative whose career was destroyed and her marriage strained to its limits when her covert identity was exposed by a politically motivated press leak during the Bush Administration.
Joe (Sean Penn) was Valerie’s husband, a former Ambassador to Niger, who became an integral figure in their “war” with the Administration.
He had been sent by the State Department to Africa to investigate rumours of the possible sale of enriched uranium to Iraq. The White House ignores Joe’s findings that no such deal took place (along with other evidence that confirmed the absence of a uranium purchase) and declares war on Iraq,
Incensed by the Government’s deliberate move towards war, Joe writes a damning article in The New York Times outlining his conclusions, a piece that ignites a firestorm of controversy. This results in Valerie’s covert status being leaked to high-profile journalists which places the lives of her many contacts in jeopardy.
Their lives are also turned upside down by the revelation and the focus of the production is on how the couple deal with a severe backlash from family, friends, colleagues and members of the American public.
It’s this potent human melodrama that forms the most gripping aspect of the film when this hard-working couple are exposed, abandoned and then branded as traitors. They had no choice but to tell their story.
“Fair Game” is based both on their autobiographies and although justice was never done and the truth never prevailed, Doug Liman’s production still makes a rattling good yarn.
The taut, suspenseful drama provides first-class performances from Sean Penn and Naomi Watts who work off a compelling script by Jez Butterworth and John-Henry Butterworth. Liman certainly knows his way around the suspense genre, having made such action capers as “The Bourne Identity,” “The Bourne Ultimatum” and Mr & Mrs Smith.” And, here, hardly missed a step.
Cast: Seth Rogen, Jay Chou, Cameron Diaz, Tom Wilkinson, Christoph Waltz
Comic actor Seth Rogan has shed the kilos and embarked on a creative spree that, he fervently hopes, will elevate him to a new status in Hollywood.
Not only does he star in “The Green Hornet” but is credited with co-writing the story and also serving as co-producer. This means the film is tailored for him and he grabs most of the screen time, which is not a good thing if you happen to be an irritating and obnoxious personality. He is likely to turn you off him the instant he unleashes his spoilt, rude, rich-boy antics – and that’s for most of the production.
Nothing Seth Rogan brings to this production can change the uneven, misshapen, and totally over-the-top experience that awaits viewers.
He portrays a character named Britt Reid. The son and heir to Los Angeles' largest newspaper fortune, this irksome playboy is happy to maintain a direction-less existence. When his father James Reid (Tom Wilkinson) dies, Britt meets an impressive and resourceful company employee, Kato (Jay Chou).
The two men need to do something worthwhile with their lives and finally step out of James Reid's shadow. Kato, an engineering and martial arts genius, builds the ultimate weapon. It’s The Black Beauty, an indestructible car with every weapon imaginable and Britt decides that in order to be heroes, they will need to pose as villains.
With the help of Britt's new secretary, Lenore Case (Cameron Diaz), they learn that the chief criminal in the city is named Benjamin Chudnofsky (Christoph Waltz). He has united all the gangs under his power, and he quickly sees that the Green Hornet is a direct threat to the prosperous criminal underworld he controls.
In the light of all the violence and murder that has exploded in America in recent months, “The Green Hornet” is uncomfortable to watch – even though it’s in a fantasy mode. There is scene after scene of unrelenting gun play and mass slaughter as weapons of destruction are brought into play. Cars are wrecked and an entire building is almost demolished as our superhero vigilantes confront the villains. The fun element quickly dissipates in the mindless surge of action and special effects.
Christoph Waltz, who was brilliant in “Inglorious Basterds,” is reduced to a villainous caricature. Cameron Diaz fares little better and is wasted as Lenore.
The film, really, is all about Rogan and Chou and they overstay their welcome well before the end of this tedious escapade.
Unlike other super heroes, The Green Hornet is a niche figure, with which contemporary filmmakers can do whatever they like. Born on Depression-era radio, the character was picked up for the movies and then enjoyed a short-lived '60s TV series with the famed Bruce Lee as Kato.
This masked avenger with his immature streak is unlikely to win the same kind of support as Superman or Spiderman.
Peter Feldman has been a journalist and arts critic for over 45 years and served on The Star in various capacities for 35 years, ending up as a specialist writer on films, music and theatre. During that time he travelled extensively on assignments and interviewed many international film and pop stars, both in South Africa and overseas. He also covered some of South Africa's biggest film and musical events. He is active in the freelance field and his work over the past 10 years has appeared in a variety of South African newspapers and magazines. He writes regularly for Artslink.co.za, The Citizen, South African Jewish Report, The Sunday Independent and is a contributor to "Eat Out" Magazine. He also contributes movie reviews to Chai fm Radio and has worked on TV in his specialist capacity. Over the years Feldman has been the recipient of several awards for his contribution to music journalism and the SA record industry. He wrote lyrics for some top artists, including Sipho Mabuse, and had a hit disco single, "Video Games," which was released in 1988. After retiring from The Star in April, 1999, Feldman joined the PR and events management company, Dlamini Weil Communications, where he currently works as an entertainment and media consultant.
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