LESSONS FROM HORRYWOOD - THE BLACK SWAN (SWINE?)

In its Best Picture nominations and awards quite often the glitterworld of gutterviews waxes didactic in its films and seeks to proselytize us. For examples, Guess Who’s Coming to Dinner, just after MLKJr’s murder, was to teach us that miscegenation is wonderful, and Chariots of Fire, the piety and general goodness of Jews. (Since Jews control the film section of Horrywood, works on the goodness and suffering of the group are time-worn themes out there.)

So as not to bury the lead TOO MUCH, what Horrywood was promulgating in the Black Swan, which, incidentally, is the term for a pas de deux in Swan Lake, were
1. the therapeutic benefits of masturbation
2. that ballet is thoroughly sleazy and scrofulous (Horrywood seeks to drag everything down to its own level), and MOSTLY
3. the joys and acceptability of woman-on-woman sex

The premise of the film was invalidated by its content. The foul-mouthed, danseuse-screwing choreographer purportedly sought to create a new take on Swan Lake, which is what led to the competition among soloists to gain the main role. When the ballet was performed, however, it was no more innovative than any production in the last 100 years, so why not have a principal dance the part and scotch the bogus competition idea? (The queer version some years ago was no less disgusting, but it was different.)

Black Swan seeks to teach you that ballet is all dark and umbrageous. Don’t believe that rot and don’t waste your shekels on this negligible film.