The plan Dolores unleashed is finally fully revealed
Westworld— SEASON 3 FINALE: “Crisis Theory”
Tagged Vincent Cassel
Westworld 3×05: “Genre”
Serac's past comes to light, as does more of Dolores's plan.
Westworld 3×04: “The Mother of Exiles”
A huge piece of Dolores's plan comes together
Westworld 3×03: “The Absence of Field”
Dolores and Caleb must come together
Westworld 3×02: “The Winter Line”
Maeve is determined to leave the new world in which she's been trapped.
Black Swan: Dark Hearts, Tortured Artists, and the Transition to Womanhood
Black Swan. 2010. Directed by Darren Aronofsky. Screenplay by Andrés Heinz, Mark Heyman, & John J. McLaughlin.
Starring Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder, Benjamin Millepied, Ksenia Solo, Kristina Anapau, Janet Montgomery, Sebastian Stan, Toby Hemingway, Sergio Torrado, Mark Margolis, & Tina Sloan. Protozoa Pictures/Fox Searchlight Pictures/Cross Creek Pictures.
Rated 14A. 108 minutes.
Drama/Thriller
★★★★★
There are filmmakers I cannot help but love. Darren Aronofsky wowed me first with Requiem for a Dream (later I saw Pi). Immediately, I found his style and willingness to explore tough stories something exciting. His style, no matter the subject, is psychological and worms its way to the core. It makes you feel connected, even if that’s an uncomfortable position in which to find yourself. Regardless, he is undeniably effective at getting to the heart of darkness, of struggle, of pain.
Black Swan is all style and all substance, mixed into a sinister dream of what goes in inside the head of an artist. Natalie Portman gives what may likely end up being the greatest, most defining performance of her career. I’ve always enjoyed her, though in this role she shines; physically and mentally. Barbara Hershey and Mila Kunis each add their own wonderful elements to the cast, as does Vincent Cassel. A wonderful cast is one thing. Impeccably captured cinematography, beautiful choreographed dancing, solid writing to boot? This is what makes Aronofsky’s film unforgettable. You get to experience all sorts of wonders. There’s the dark heart of artistry, beyond what people see on the outside; all the pain and torturous psychological wear/tear behind the curtain. There’s the often scary, rocky transition from being a girl to becoming a woman, one which Nina (Portman) discovers unnervingly. Finally, this psychological descent in which Nina finds herself twirling becomes our own, as Aronofsky and cinematographer Matthew Libatique draw us inside a terrifying headspace until coming out on the other side. Whether that’s in tact mentally, you be the judge.
One major element of why I find Aronofsky’s film so interesting, in an odd sense, is how he incorporates a quasi-body horror into the psychological journey of Nina. There are several key moments where fingers, toes, they get bloody and our mind is drawn to the strain on Nina’s body. Slowly, we begin to suspect there’s a dark fantasy portion to this story, and that things are becoming supernatural, as if Nina is literally transforming into a swan. So with the body horror, Aronofsky combines the psychological elements in there to make things surreal, blurring the thin line between reality and nightmares.
The psychological aspects further come out well through the use of doubles as a theme and mirrors or reflective surfaces. Nina’s character is all about expectations, personal or otherwise. She feels her mother (Barbara Hershey) bearing down, constantly. Her own mind is against her all the time, always asking for more just like dear ole mom. Then there are the expectations Nina perceives from the eyes watching her, dance instructor Leroy (Vincent Cassel), so on. All the reflections serve as a reminder that ballet, her dancing, they are a judgement on her physical qualities; how well she can dance, how thin is her body, how lean are her legs, et cetera. Moreover, the doubles Nina sees – one early on walks right past her under some scaffolding on the street, her face appearing visible briefly before it morphs back into some other unknown person – reflect the idea of being an artist as a sort of egotistical space, at times. It’s not a general statement. However, when it’s coupled with the obsession in the screenplay, this concept of artistry plays into Nina’s visions. Seeing those doubles, reflecting her face, these are points of narcissism. This leads slightly into further themes of the film. As Nina journeys from being a girl to a woman, she moves away from the narcissism and literally has to smash her identity to pieces, destroying the old narcissistic little girl and becoming a confident, more accomplished woman comfortable in her own skin, along with all its flaws. Up until the climactic moments of the script Nina sees her reflection everywhere. Even if nervously, all she can see is herself. Everywhere. In every thing, everyone. By the end, she’s decided this is enough, and along with the blood (a little bit symbolic in that part of it appears period-like), the smashed mirror represents a gateway to her life beyond girlhood.
Another major element to why Black Swan is so interesting has to do with this theme of womanhood, or even simply adulthood in general, and the passage one takes from being a child to being a genuine adult. But definitely the heavy element of female perspective is here, obviously. This is why when some people question the sex scene between Nina and Lily (Mila Kunis), I wonder if they understand that part of this entire story is the fact Nina is discovering herself, her sexuality, her power as a woman, every last little thing in between. So the sex scene represents that side of Nina wanting to explore, the repressed girl in her ready to see what womanhood is all about and open to discovering her own choices, and it didn’t happen. The fact is she has fallen into a fantasy world. Nina lives in a dream world, one afforded by her slightly crazy mother and perpetuated by her own act of allowing her infantilization. So it makes sense she’s diving headlong into a lesbian fantasy, one she’d never dare act out in real life because of her own repressed sensibilities and the overbearing presence of her mother. Problem is, her mind is so fractured – driven to mad lengths by her getting the role as Swan Queen – that she doesn’t realize this is only a dream she’s conjured up. And the awkward situation later when she believes it to be real, bringing it up to Lily is where we can truly see her disoriented reality.
With so much beautiful camera work, the mind bogglingly gorgeous dance choreography by Benjamin Millepied, the always intriguing direction of Darren Aronosfky, Black Swan was completely enthralling from the first time I saw it. Even now six years later as of this writing, I cannot get enough. The entire thing is this elaborate, dreamy tale. All the ballet and the dedicated dancing, that whole world, makes this a unique story we’re not often going to see. Certainly it’s reminiscent of the famous anime Perfect Blue, to which Aronofsky owns the rights, but there’s enough of his own elements to not make it one big rip-off. All around this is an astounding psychological horror/thriller, one that incorporates body horror, surrealism, among other things. No matter how you view it, Black Swan is a dangerous story about obsession, dedication, artistry, all wrapped into a kind of coming-of-age scenario about a girl finally becoming a woman after a long gestating period of being a child. By the time the credits roll you’ll either love it or hate it. But no doubt, you’ll find yourself reeled in, and the dark beauty of the film as a whole will take you away to some magical places. They might not be soft, sweet, rosy places. Yet magical nonetheless.
A Dangerous Method: The Unbearable Burden of Knowing Freud and Jung
A Dangerous Method. 2011. Directed by David Cronenberg. Screenplay by Christopher Hampton, based on his play The Talking Cure.
Starring Keira Knightley, Viggo Mortensen, Michael Fassbender, Sarah Gadon, & Vincent Cassel. Telefilm Canada/Ontario Media Development Corporation/Corus Entertainment/eOne Films.
Rated 14A. 99 minutes.
Biography/Drama
★★★★
I’ll say it loud and proud ’till the day I die: I am one of David Cronenberg’s biggest fans.
His films are incredible slices of human life twisted around the innovations of everything from technology to media to psychology, as well as all sorts of other themes and topics. While his earlier work is dominated mostly by the physiological, over the past decade or so Cronenberg has kept his eeriness as he’s moved towards examining aspects of the mind. Cronenberg first moved slightly from body horror in 2002 with the Ralph Fiennes-starring Spider, which examined the fractured mind of the titular character through years of psychological torment. Then came A History of Violence and Eastern Promises, both taking a look at the fluid identities of dangerous men involved in the world of organized crime.
But if the second act of Cronenberg’s career has shifted focus more towards psychology then the granddaddy of them all is A Dangerous Method.
Via screenplay written by Christopher Hampton – based on his own play The Talking Cure, which is also based on the book A Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein – the audience is transported into the relationship between groundbreaking psychiatrists Drs. Sigmund Freud and Carl Jung, along with the presence of Sabina Spielrein, who went on to become one of the world’s first female psychoanalysts. The style Cronenberg brings here is his typically great eye for framing and an overall gift of storytelling. But more than that he takes his talents in the arena of body horror and manages to make the psychologically uneasy aspects of this story all the more affecting.
A few reviews I remember seeing when this was first released accused Knightley’s performance of being hammy, over-the-top, among other suggested negatives. There’s no way I can agree. In the initial scenes you can grasp the incredible emotional trauma of Sabina, as Knightley dives directly into this woman’s skin. It is a fearless performance from the top. Sabina was a hysteric, and that is how many of them are prone to behaving. Although her accent doesn’t always hit the perfect mark, her overall performance is solid. Her energy as an actress has always been good. Never more formidable than here.
The chemistry between Knightley and Fassbender is fiery, too. For his part, he brings Jung to the screen with an odd charm, one which slowly evaporates over the course of the film. At first he seems a proper man whose interests lie solely in psychiatry, unearthing new practices and honing old ones to modern methodologies and more modern issues/illnesses. Partway through there’s a gradual realization Jung is as repressed, if not more so in some ways, than some of the patients he treats. Through Fassbender we find Jung’s human side and also his hideous one. He seeps talent in every film in which he stars, this is no exception.
Finally, it’s the even more amazing chemistry between Fassbender and Mortensen that makes this film so engaging. Mortensen has a good look for Freud, as well as the fact he captures the air of the men well, right down to little details such as the constant cigar smoking, the pensive and animated conversation, his calm demeanour and way of speaking. He and Fassbender play well off one another – the former with a highly serious tone and set of mannerisms, the other a slightly more loose and freewheeling type. Together, as the tension rises from one conversation to the next, their performances reel us into a psychoanalytic world of ego, jealousy, competition. And their subtle touches as actors, along with the well written screenplay, gives them the ability to work without melodrama. These two together offer nothing but the best.
Jung: “Only the wounded physician can hope to heal”
Part of Jung’s resentment of Freud is that the latter seems to have no problem with sex. Maybe he’s not a ladies man either, yet he willingly dives headlong into sexuality as the root of just about every problem we as humans experience. Meanwhile, it is clear Jung had hangups, which emerged vividly in his relationship with Sabina. So Jung likely thought Freud’s preoccupation and fixation on sex was ill conceived simply because of his own desire to break free sexually, a.k.a cheat on his wife.
One major reason I love A Dangerous Method is because it takes a long, hard, raw look at people who are widely regarded as geniuses in the field of psychiatry. Of course anyone in the know realized Freud was into cocaine, as well as other bits and pieces of both his and Jung’s life. However, exposing the darkness underneath all the masterful work is something intriguing. In that way, Cronenberg further digs into the mind: the collective mind. As we try to believe doctors and other figures of such authority are often better than ourselves, we often forget they are simply human.
The conversations between Freud and Jung are wonderful, in acting and writing. Tension mounts as their opposing views bump up against one another, rubbing each other raw. Every conversation seems to get a little more anxious, each one has more attitude – often from Freud – and the relationship between these two great thinkers deteriorates, almost invisible to their own eyes as it’s happening. Then all of a sudden they’ve grown miles apart during the interim. The progression and downfall of their relationship is certainly precipitated by the affair Jung engages in with Sabina. But the inflated egos of both Freud and Jung lay the foundation for a breeding ground of contempt between them, an inescapable and unavoidable rift.
There are absolutely some flaws to this movie. The fact remains A Dangerous Method is a complex and interesting piece of cinema facilitated by the prodding mind of David Cronenberg. Without a focus on body horror, he puts a tight lens on the horrors of psychology. The dangerous method in question lays waste to the mental capacities and thought processes of Carl Jung, as it also taints Sigmund Freud and Sabina Spielrein. The famous Talking Cure is of course a great thing, one that’s given birth to what we know today as therapy, couples counselling, and so much more.
At the same time, the Talking Cure can lead to dangerous things if not taken by the reins. Someone like Jung, particularly in his affair and resulting mess involving Sabina, talked too much, and perhaps needed his own therapy while falling under the influence of first Freud, then Sabina in her own way, even Otto Gross and his ruminations on the uselessness of monogamy
This true story about the burgeoning days of modern psychiatry and psychoanalysis is a 4-star film with a trio of fabulous performances, the ultimate driving force behind its impact. Great directing, great acting, and a solid screenplay. If you have an interest in the topics at hand, check this out, but either way it is still a nice, interesting work of historical drama that gives us insight into the towering figures of Freud and Jung now that the past few decades have pulled further back the curtain on their personalities and personal lives.
