There are now more than enough articles about this film in the press and power than that, something else would add. A few little things I have yet to remember to forget to have not, as a small pebble in the shoe and Erinnerungsnotat (beyond a Abwatschung Natalie Portman, whether they are now good place or not). Three things mainly I like to make a film that I liked the art work and the intensifying tension her quite well. These are: first
Aronofsky makes credible Cassel as his unit to explain the contents of Swan Lake. Which ballet dancer but knew that not? Actually, so he explains to the stupid audience, what is it about.
second The dialogues are all weak. Moreover, the "artistic" Cassels stage directions are even a surprisingly naive primitivism. Thus, no artist speaks around the world about his subject. Except maybe the community college introductory course. Here, too, probably too much thought to the audience. Imagery words: original, linguistic worlds against: phrases, dialogues plate, around the world.
third Aronofsky is working very much with cheap rummsdada shocks. He had previously never been necessary. A technique that mitlerweile with me causing so much annoyance to me directly at the nerve level very much kick out.
One of the best arguments for a useful image composition was in the criticism of George Seeßlen in time to read that would ultimately be self-employed as light walls. In fact, who has not seen the movie, pay attention to the beginning.
extreme depressing addition to the catacombs and the whole almost complete lack of daylight is the home of the protagonist, a Victorian castle nooks and crannies of the overwhelming sensory overload. This house symbolizes the mental status quo of the protagonist, that of the imprisoned individual in power and claim the soul of the total jail.
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