THE SEXUAL FOREBODING IN ES2007S

I just finished watching Black Swan (2011)---the movie Brad briefly mentioned about in ES2007s class the other day, and somebody else (quite a few) in class pitching the movie as great and must-watch of the year. Thinking the movie taught noble lessons of life and therefore persuaded, I downloaded an online version of the movie free of charge and to my horror discovered a sordid mess of graphic emotional and sexual blackmail!! Some of you have seen it, there’s no removing the brain degenerating sludge-fest, for those who haven’t, you don’t ever, ever want to commit blind martyrdom with your set of eyes, gifted and sacred.

It’s hard to feel proud for Miss Portman of Harvard once upon a time; it’s hard to be moved into solidarity now with the Oscar-deserving benchmarks she set herself; it’s even harder for me to reconcile her time in clean-cut Victorian gentility scripts, which doesn’t seem all that long ago in the Star-based series, to the present prima donna struck comatose by the witch spell of carnal Hollywood.

Question was did the cash-stocked ledgers and promises of middle-rags to riches by Hollywood highway do so well to cajole her underwriting the contract for the role? Or was she, in still a young career trying to perhaps make the totem pole of the likes of the sensational Licole Kidman, titillating Pate Winslet, and sensuous Daomi Watts, been a victim of blackmail herself, of underside favors and drawer cash.

Why of all scripts Miss Portman chose to rocket her Oscar stardom, she picked; had to be coerced, or otherwise, the unconstitutional blackmail part, for which I played victim to a few days back recently, and suffered sutured emotional scars. As if blackmail ordinarily hadn’t caused her enough mental, moral ill, she probably found more dignity and honor, or more fulfillment of self in enacting the blackmail of a profane sexual nature.

In the film, one senses her gift of feminine sexuality debased, dismantled, suffused with, commodified in carnal cross-cuts, which falsely herald her sexual violability as essential femininity, when it is really both SEXUAL BLACKMAIL and mistaken power.

To grab the Oscar with such a prurient subject is not too proud headliner, except if it is one for your negated sensual tastes.

The lyric that went God Save the Queen is compelling enough today for God Save our Portman!

Oscar now goes to……….

Cheers