The similarities in the content of both stories are evident, but what’s even more significant is the plausibility of the major cast in their adjustment from oblivion to the astounding tension of achievement, and since both movies are using the recognizable tale-within-a-tale strategy, interest must therefore be centered across Natalie Portman and Moira Shearer and their accomplishments as the main characters (Fusco & Katherine, pg. 30. The main concept is to have an experience of ballet dance in the motion picture through their gaze, just as we see it through ours.
Black Swan takes a straightforward psychological horror approach, focusing on Nina’s conflict with the film character(herself) all through the prism of her deteriorating sanity. On the other hand, Vicky’s adjustment to her character is based solely on Moira Shearer’s efficiency, with no mental trickery, which is sufficient.
In contrast to this authentic embodiment of both a personality and an actor/response performer to art, the controversy is Black Swan appears unrealistic and compelled, relying solely on the mental instability angle.
In both films, the technical preferences and montage storylines of ballerina scenes depict how the performers gradually lose themself or their sanity while entirely willing to commit to the screen character. The stage is also showcased from the inside, from the standpoint of a ballerina, in both The Red Shoes and Black Swan.