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Showing posts with label natalie portman. Show all posts
Showing posts with label natalie portman. Show all posts

Tuesday, June 5, 2012

“Thor”: a second look

Thor

 


My friend Tab and I were having one of those meandering conversations the other day. We went from RuPaul to Laura Linney to “The Big C” to Idris Elba, the extremely versatile (and very handsome) actor who played Laura’s hotter-than-hell boyfriend in the first season of “The Big C.”  “I appreciate him,” I said. “Wow, do I appreciate him. It’s a shame they covered him up with so much fabric and costume jewelry in ‘Thor.’”

 

 

 

“Who was he in ‘Thor’?” Tab asked curiously.

 

 

“He was Heimdall,” I said, both proud of my knowledge and ashamed to show how much of a comic-book geek I am. “The guardian of the Rainbow Bridge.”

 

 

Tab giggled. “Rainbow Bridge,” he said. “Seriously. How gay can you get? All the gods and warriors are wearing accessories.”

 

 

I began to see his point. “Asgard’s sort of the biggest baddest gay club ever,” I said. “It fairly pulses with bad house music. And Heimdall’s the bouncer.”

 

 

“And,” Tab said, “do you remember that beam they travelled around in? I mean, my god, how phallic was that?”

 

“Also,” I mused, “Thor has a very big hammer. And he likes to hit things with it. Also he likes to go out drinking.”

 

 

(Side note: Thor does seem to like girls, or at least Natalie Portman. Natalie Portman is, however, a little – hm – boyish, especially with that short haircut. Also there’s a brief scene in the movie of Natalie and Thor serving their friends breakfast. Or could it be – gasp! – brunch?)

 

 

My god. Why didn’t I realize all this before?

 

 

No wonder I liked that movie so much.


 

Tuesday, January 18, 2011

Black Swan

 

Partner and I saw “Black Swan” on Sunday.

 

 

OMG!


 

First of all, Natalie Portman is just about perfect. Why does it always amaze me when a movie star actually turns in a good performance? Well, hers is better than good, it's terrific. She goes from fragile to terrifying and back again. And there's a great supporting cast: Mila Kunis, Barbara Hershey, and especially Winona Ryder as a washed-up ballerina who, ahem, isn't taking retirement very well at all, and who just about spontaneously combusts in her three or four little scenes.


 

It made me think of that other really excellent ballet movie, “The Red Shoes.” In “Red Shoes,” an innocent young ballerina becomes a star by portraying a role in which she dances herself to death. She falls in love with the young ballet composer, she leaves the ballet, she finds she can't live without it, she's torn, she goes back . . . Well, I won't tell you the ending. But it ain't very cheerful.


 

Same in “Black Swan,” but with a difference. The heroine is told, over and over again, that she can't dance meaningfully unless she understands the emotions underlying her role. The story of the innocent white swan and the wicked black swan starts to invade her everyday life. Creepy things start to happen. Or do they? Doesn't matter, because she dances better and better. It's the old Romantic fable of the suffering / struggling / crazy artist, except that it feels mighty real, even when people start sprouting feathers and such.


 

It doesn't matter if you like ballet or not. Just jete your little Early American butt down to the local cineplex and see it.


 

If you don't come out doing a plie and a cabriole and a grand arabesque, you're just not a human being.