Black Swan's Greatest Trick Was Convincing Oscar That It Isn't Horror
[note: Our ongoing series of Oscar Rants continues with Will's take on Best Pic nominee Black Swan. Watch for more Oscar Rants coming soon. Here's WillÖ]
Thereís a formula you can follow to work your way in contention for the top prize at the Academy Awards. Heavy drama plus a few well placed laughs and two or three scenes that leave the audience choked with tears and youíll have no problem landing among the elite ten being scrutinized for the Oscarís best picture. But what if youíre a brilliant film that blurs the line between thriller and horror, two genres rarely considered for awards let alone best picture, until you canít tell where one ends and the other begins? Enter Black Swan, Darren Aronofskyís 2010 opus which, while teeming with personal drama, left us all watching half the movie through the spaces between our fingers.
The horror genre has been widely absent at the Academy Awards since their inception, save for a scant few that have weaseled their way in. Last year, District 9 clearly expressed horror elements, and before that 1999ís Sixth Sense found a spot among the leaders. Thatís an 11 year stretch with only a few mild thrillers mixed in, and an even longer span before that. As a horror lover, Iíll be the first to admit that this omission is not entirely because the Academy is simply unwilling to consider the genre, the truth is most horror films simply arenít good enough or innovative enough to compete with well thought out works like The Social Network or No Country for Old Men. Thereís a stigma to awarding horror, and maybe itís one that the genreís earned.
Black Swan is different. At first disguising itself as ďthat ballet movieĒ, none of the filmís early viewers got what they were expecting. As the movie traveled through festivals, it unfolded its wings to reveal its next guise, as a psychological thriller. And yet, while it more closely resembles a thriller than a ballet movie, Black Swanís final transformation is something else entirely. By the end of the Ninaís story itís clear that itís actually a horror movie, one that makes no apologies for shocking its unsuspecting audience, sure to cringe even more later, as they relive the memory telling their friends about it.
This isnít a horror film like Dawn of the Dead is a horror film. And itís certainly not a horror film like The Thing is a horror film. Black Swan has no ghosts or zombies or ghouls or demons (inner demons?) to hang on for its scares. It lives simply in the mind of Natalie Portmanís Nina who drives this film like she pulled it through the deepest depths of the human psyche, where real horror lives. Much like Carrie, Nina endures never ending torment from her mother and her peers until she snaps. The film burns slowly like a candle and as Ninaís wick of sanity reaches its end, the story explodes into a crescendo of dementia impossible to escape not only by Nina, but by audiences unable to look away.
Darren Aronofsky has not put horror ďon the mapĒ, he just managed to do it well enough that it looks like something else. In how many other dramas have you seen toenails break and skin pulled back to the bone amidst a backdrop of endless, taunting hallucinations? It doesnít happen. Black Swan is a horror movie, but beyond the scares, perhaps itís greatest trick is in convincing people who fear the genre that it isnít part of it. Now that Black Swan on Oscarís stage, itís time deep and brooding horror took home the top prize.
[Read more Cinema Blend Oscar Rants right here.]
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