DAVID BARRIE
Tuesday, 22nd February 2011. On swans of the black variety.
Black Swan was released in France two weeks ago so I finally got to see it. To tell the truth, I did so twice: first time through I was too tense to enjoy it, fearful of finding too much common ground with Loose-Limbed; second time I just sat back and surrended to the film's tidal pull (the relentless corruption of innocence, the costumes, the feeling that Vincent Price was lurking just around the corner, ...).
I'm aware that my pre-film jitters must seem at best ridiculous and at worst pretentious. However, although the tiniest fraction of those who have seen Black Swan will read Loose-Limbed, the reverse is not true, and I hated the thought that someone might dismiss the book as a pale imitation of the film (for few will know, and less will believe, that I was unaware of Aronofsky's film while writing). Overall, I now feel a lot more at ease. There are parallels that could be drawn (competition within the ballet for a leading role, a tyrannical foreign choreographer, the dancing profession's obsession with youth, ...) but they are all incidental. What really stands out is the fact that when it comes to telling a tale Darren Aronofsky leans heavily towards the Gothic whereas I stick timidly with the Romanesque (unadorned pillars, unassuming arches, and a preference for dim shadow over richly-hued light).
Which is not meant as criticism. I'm sure I could do with a little less retenue. This may be why I've been a big fan of Aronofsky ever since I stumbled across Pi (I found Pi fascinating, Requiem for a Dream unbearable, The Fountain epic and The Wrestler tenderly depressing – which to my mind means that all four films did their job particularly well).
Now that I don't have to fret about being accused of plagiarism, I can get back to worrying about John Law Media's ability to get Loose-Limbed onto Waterstones' shelves in the UK.
Black Swan was released in France two weeks ago so I finally got to see it. To tell the truth, I did so twice: first time through I was too tense to enjoy it, fearful of finding too much common ground with Loose-Limbed; second time I just sat back and surrended to the film's tidal pull (the relentless corruption of innocence, the costumes, the feeling that Vincent Price was lurking just around the corner, ...).
I'm aware that my pre-film jitters must seem at best ridiculous and at worst pretentious. However, although the tiniest fraction of those who have seen Black Swan will read Loose-Limbed, the reverse is not true, and I hated the thought that someone might dismiss the book as a pale imitation of the film (for few will know, and less will believe, that I was unaware of Aronofsky's film while writing). Overall, I now feel a lot more at ease. There are parallels that could be drawn (competition within the ballet for a leading role, a tyrannical foreign choreographer, the dancing profession's obsession with youth, ...) but they are all incidental. What really stands out is the fact that when it comes to telling a tale Darren Aronofsky leans heavily towards the Gothic whereas I stick timidly with the Romanesque (unadorned pillars, unassuming arches, and a preference for dim shadow over richly-hued light).
Which is not meant as criticism. I'm sure I could do with a little less retenue. This may be why I've been a big fan of Aronofsky ever since I stumbled across Pi (I found Pi fascinating, Requiem for a Dream unbearable, The Fountain epic and The Wrestler tenderly depressing – which to my mind means that all four films did their job particularly well).
Now that I don't have to fret about being accused of plagiarism, I can get back to worrying about John Law Media's ability to get Loose-Limbed onto Waterstones' shelves in the UK.