Mr. Aronofsky is happy to see her bleed. A filmmaker who likes to play around with genre while mixing the highbrow with the lowdown and dirty, he has built a small, vivid catalog by exploring human extremes with wildly uneven degrees of visual wow, sensitivity and intelligence. He trawled the lower depths in “Requiem for a Dream” and struggled to scale the metaphysical heights with “The Fountain,” a fable about eternal (as in, when will it end?) love. For his previous movie, “The Wrestler,” he proved his commercial smarts by taking Mickey Rourke out of deep freeze and dusting off a comeback story that was old when Wallace Beery wiped Jackie Cooper’s runny nose with the script for “The Champ.”
“Black Swan,” by contrast, surprises despite its lusty or rather sluttish predilection for clichĂ©s, which include the requisitely demanding impresario (Mr. Cassel makes a model cock of the walk) and Nina’s ballerina rival, Lily (Mila Kunis, as a succulent, borderline rancid peach). But, oh, what Mr. Aronofsky does with those clichĂ©s, which he embraces, exploits and, by a squeak, finally transcends.
Such is his faith in his ability to surmount the obvious (and the lethally blunt) that he turns Nina’s mother, Erica (a terrific Barbara Hershey), into a smother-mother who out-crazies Faye Dunaway’s Joan Crawford in the mommy dearest department. You don’t know whether to laugh or shriek (both are reasonable responses), and it is this uncertainty and at times delicious unease that proves to be Mr. Aronofsky’s sweet spot.
It’s easy to read “Black Swan” as a gloss on the artistic pursuit of the ideal. But take another look, and you see that Mr. Aronofsky is simultaneously telling that story straight, playing with the suffering-artist stereotype and having his nasty way with Nina, burdening her with trippy psychodrama and letting her run wild in a sexcapade that will soon be in heavy rotation on the Web. The screenplay, by Mark Heyman, AndrĂ©s Heinz and John McLaughlin, invites pop-psychological interpretations about women who self-mutilate while striving for their perfect selves, a description that seems to fit Nina. But such a reading only flattens a film that from scene to scene is deadly serious, downright goofy and by turns shocking, funny and touching.