A comparison of the red shoes by michael powell and the black swan by darren aronofsky

Black Swan

The white swan falls to her death and Nina falls to the mattress that catches her behind the set, where her fellow dancers and Thomas surround her, extolling her glory and her talent. This still allows a sensational sequence at the climax of the film in the dance of the Black Swan.

The compulsion to dance is a familiar theme in popular culture and in cinema, and so before looking at the specific post-cinematic qualities as compulsive disorderly, it might be useful to briefly return to a classic reference. Although I am not schooled in the technique of ballet to fully discern whether or not she is practicing it correctly, the audience understands when she is dancing well, when she is dancing badly, when she is dancing like the White Swan, and when she is dancing like the Black Swan.

While enjoying the beautiful movements and colorful mise-en-scene, we feel for her. To look at The Red Shoes today is to marvel at the full potential of the three-strip Technicolor process.

The body in the bathroom is gone and so is the blood. The film needs a strong male lead and I think Vincent Cassel is outstanding. But when Boris learns that Julian and Victoria have fallen in love, Boris, who is secretly in love with Victoria, in a fit of rage forces Julian to leave the ballet company; Victoria leaves with him.

This is fascinating, though personally I find the disparity between the beautiful muscled legs and the scrawny upper arms of the ballerinas in close-up very unsettling. Vincent Cassel plays Thomas with a cruel sneer in his upper lip and a leer in his eyes as he challenges Nina to give up her quest for perfection so that she might convincingly portray the evil and seductive Black Swan with the wild abandon he conceives for the role.

We need cinema that is challenging, violent and debauched, particularly in an age when classification boards can overreact wildly when a film features honest sex scenesor rate them unnecessarily high simply for having some swear words.

Lily a stunning Mila Kunis arrives in the company from LA full of self-confident sexuality and the distinctly unballet-like languor of the west coast. The ballet sequence that expresses the inner world of the character, her desires and fears, is clearly separated from the backstage story.

The choreographer of the Swan Lake, Thomas Leroy Vincent Casselchallenges Nina to let go of her docile controlling white swan ego in order to unleash the seductive powers of the black swan.

In the hands of a lesser filmmaker, Black Swan could have ended up like an all-singing all-dancing reimagining of Single White Female.

The Black Swan

The emphasis is quite rightly placed on the development of character, and so we see young Julian Craster Marius Goringaspiring composer and a victim of plagiarism at the hands of his beloved professor, get his first break composing for a distinguished ballet company and how he matures, deepens, and develops his art.

We experience the world with Nina, from within her subjective experiences and perceptions that become increasingly unreliable. A comparison between these two moving and dancing bodies on screen will reveal an affective difference in which the spectator is moved and engaged in new ways.

Less interesting is "Profile of The Red Shoes," a very-standard making-of documentary. They say there is nothing new under the sun, but it still takes a fine filmmaker to combine their inspirations into a brand-new cohesive beast.

Beautiful dark twisted fantasy – Black Swan Review

The focus is on her body constantly — on the real and imagined damage done to it by the stresses of dancing. This is a familiar narrative and psychoanalytic pattern that is certainly part of the affective dimensions of the film. More on this in a moment.

The story begins as struggling composer Julian Craster Marius Goring attends a performance of the Lermontov Ballet Company and recognizes his own score in the production of "Hearts of Fire.Jan 04,  · Perhaps Darren Aronofsky should have considered attaching a title card with that brief caveat to the reels of his latest film Black Swan.

He didn’t. I suppose Michael Powell and Emeric Pressburger’s The Red Shoes is the obvious comparison, what with it also being the tale of a devoted ballerina who goes off the deep end. But a 5/5. A Comparison of the Red Shoes by Michael Powell and The Black Swan by Darren Aronofsky PAGES 6.

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The Red Shoes

We are your favorite distraction. If one is to judge a film by how well it fulfills its intentions, then Black Swan is a success. It stands out from the crowd by dint of sheer audaciousness, and originality.

I had seen The Red Shoes before and absurdly classified it as one of Powell and Pressburger’s more “conventional” films; it didn’t have the daring episodic structure of A Canterbury Tale, the sexual hysteria of Black Narcissus, the dream-like ambiguity of A Matter of Life and Death, the rhapsodic romanticism of I Know Where I’m Going!

The mother of them all is Michael Powell and Emeric Pressburger’s “The Red Shoes,” one of the most beautiful movies ever made—its star, the budding ballerina Vicky Page, is played by.

A comparison of the red shoes by michael powell and the black swan by darren aronofsky
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