An important question here is: where do we draw the line between what she actually sees and what she hallucinates? (I suspect that she hallucinates a lot more often than the times she obviously does.) She’s the white swan “sweet girl,” so she projects that sexuality onto others through her hallucinations. The sexual brazenness she sees in some of these black-clothed people (Lily, and in particular, a lecherous old man on the subway making obscene gestures at her) is really a sexuality inside herself that she doesn’t want to accept. Nina tends to see people in black clothes, sometimes young women with Nina’s hallucinated face superimposed on them, as in one example in the subway station.
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This disavowal of her sexuality comes in the form of projection. With Erica’s domineering overprotectiveness comes a repression and disavowal of Nina’s sexuality. Erica’s overprotectiveness and lack of respect for her daughter’s privacy force Nina to take on an exclusively “sweet girl” persona…a white swan. We’ll see the significance of these black clothes on Erica later.Įrica seems to be a generally good mother, though she is in many ways frustrating for Nina, too. Nina’s mother, Erica, is always in black, except for an outfit that’s a combination of black and dark grey, worn once in the middle of the film–black enough. Appropriately, at the beginning of the film, she dreams of dancing as the White Swan that she’s being eyed predatorily by Rothbart, the evil owl-like sorcerer, already shows her repressed sexuality, for deep down in her unconscious, she wants to be seduced. As she gradually loses her innocence over the course of the film, she’ll be wearing darker, greyer clothing until she’s fully transformed into the Black Swan, the evil twin, as it were, of the White Swan. Nina, the “sweet girl,” wears mostly white clothes, as well as her lightest of light pink coat and light-grey track pants. Grey, as a mixture of black and white, can thus be seen as an integration, or a sublation, of the black and white thesis/antithesis. Black and white have the traditional symbolism of, respectively, evil and good, sin and innocence, etc. One visual cue to take note of throughout the film is the preponderance of blacks, whites, and greys, in clothing especially, but also in interior designs. Nina: I can’t? I’m the Swan Queen, you’re the one who never left the corps! Oh my God! You did! You fantasized about me!Įrica: This role’s destroying you. Lily: But we what, Nina? Wait, did you have some sort of lezzy wet dream about me? Unless your name is Tom and you got a dick. Nina: And then you just took off in the morning? You just got to let him lick your pussy.Įrica (Hershey): What happened to my sweet girl? Lily: I bet he’ll be calling you little princess any day now. Lily: Little princess? He probably calls every girl that. Lily (Kunis): I can’t believe he calls her that. It needs to be the other way around.” –Thomas, to Nina Thomas: Now stop saying that! That’s exactly what I’m talking about. Thomas: You could be brilliant, but you’re a coward. What did you do to change his mind? Did you suck his cock?īeth: You fucking whore! You’re a fucking little whore! Nina: Beth! I’m so sorry to hear you’re leaving the company.īeth (Ryder): What did you do to get this role? He always said you were such a frigid little girl.
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Surprise yourself so you can surprise the audience. Thomas: Perfection is not just about control. Thomas: Really? In four years, every time you dance I see you obsessed getting each and every move perfectly right, but I never see you lose yourself. But the black swan? It’s a hard fucking job to dance both. Yes, you’re beautiful, fearful, and fragile. Thomas (Cassel): The truth is when I look at you all I see is the white swan. Nina (Portman): I came to ask for the part. Nina’s double is her dialectical opposite, Lily (Kunis) and just as the protagonist in Dostoyevsky’s story is paranoid about his double’s attempts to take over his life, so does Nina have persecutory anxiety about Lily supposedly scheming to take the role of Swan Queen away from her. The story, with its overarching themes of duality, dualism, and the dialectical relationship between opposites, is strongly influenced by Dostoyevsky‘s novella, The Double. It stars Natalie Portman in an Oscar-winning performance as ballerina Nina Sayers, with Vincent Cassel, Mila Kunis, Barbara Hershey, and Winona Ryder.
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Black Swan is a 2010 psychological thriller directed by Darren Aronofsky and written by Mark Heyman, John McLaughlin, and Andres Heinz, based on an original story by Heinz.