In “Black Swan,” the prima ballerina is the camera. It does most of the real dancing, through Darren Aronofsky’s fragmented shots, jerky movements and distorted film speeds.
The legs you see rising onto their toes belong not to stars Natalie Portman, as the ambitious rising principal Nina, or Mila Kunis, as her rival, Lily, but to their body doubles, American Ballet Theatre soloists Sarah Lane and Maria Riccetto.
When we do see the stars dance, it’s almost always from the waist up. Neither looks ridiculous, though the enormous back tattoo on Kunis’ character might raise eyebrows at an audition. Portman has at least one full-body scene, and she gets through it, but without the sinewy coordination of a dancer.
Vincent Cassel says he modeled his character, Thomas, the company’s sexually obsessed director — who tells his dancers to forget technique and let go — on George Balanchine. But Balanchine famously stressed technique over passion. Thomas is closer to Antony Tudor, who could be just as cruel as Thomas, rehearsing dancers for hours over a single gesture.
“Black Swan” isn’t really a dance film — but it’s a shame we never meet anyone in it who actually loves to dance. Nina would, if she weren’t so nutty. Lily’s more passionate about sex, drugs and cheeseburgers. Dancers dance because they love it — or they quit.
If the movie does make you curious about “Swan Lake,” you might catch ABT’s performances in June at the Met. Or get the DVD: My favorite is the Royal Ballet’s 1982 performance, put out by Kultur, starring Natalia Makarova and Antony Dowell.
Leigh Witchel is the dance critic for the New York Post.