Those Undulating Swan Arms? Not So Easy to Do

Natalie Portman in “Black Swan,” directed by Darren Aronofsky, about a fictional ballet company’s new version of “Swan Lake".

By JULIE BLOOM
NYT

TEN years of serious training and then five more toiling in the ranks. That’s how many years of dedicated study it takes on average to become a principal ballerina at a top company. But Hollywood isn’t willing to wait. So when several actresses signed up to portray professional dancers in new movies, they had to play a very intense game of catch-up.

Actors have impersonated dancers before to varying degrees of success. (See Jessica Alba’s laborious hip-hop moves in “Honey” and Neve Campbell’s elegant arabesques in “The Company” to get a sense of the range.) And some directors, like Bruce Beresford with his recent “Mao’s Last Dancer,” have bypassed actors altogether and cast dancers to achieve authenticity. When a single awkward move can change the tone of an entire scene, portraying a dancer is a serious challenge.

“It’s not the same as Mickey becoming a wrestler because that’s a craft you can learn in a few months,” the director Darren Aronofsky said, referring to Mickey Rourke, who starred in his film “The Wrestler.” “Ballet is something you have to be trained from a tiny age.”

Mr. Aronofsky’s latest movie, a rumored Oscar contender, “Black Swan,” due Dec. 3, is a psychological thriller centered on a fictional ballet company’s new version of “Swan Lake.” Natalie Portman plays the lead ballerina, and Mila Kunis is her rival. In George Nolfi’s “Adjustment Bureau,” out in March, Emily Blunt stars as a member of a real troupe, Cedar Lake Contemporary Ballet.

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