The Illusionist can’t live up to its own Tricks
Neil Burger’s “The Illusionist” is an above average movie, often satisfying but ultimately forgettable. First, for the satisfying. Ed Norton stars as the title character, a turn of the century Austrian magician so adept that his act may or may not include the supernatural. Norton is always a pleasure to watch, though this is no virtuoso performance as in “American History X.” Here Norton is a mysterious man about whom the only thing we can be certain is his undying love for his childhood sweetheart Sophie Von Teschen (embodied plainly by Jessica Biel).
Their childhood love is explained in a flashback, but they were torn apart because Eisenheim was a commoner whereas Sophie was and is a countess. Years have passed, and Eisenheim has traveled the world and become Eisenheim the illusionist (his childhood name was different). Now there is quietness, and a confidence about this man who dazzles with incredible illusions. Of course Eisenheim will collide with Sophie. And he does so while also colliding with her would be husband, the obviously evil Austrian crown prince/heir to the throne Prince Leopold (go to bad guy Rufus Sewell, here above-average). And thus a love triangle develops; who do you think will prosper?
And then there is our narrator, for this film begins towards the end, then starts at the beginning. He is chief inspector Uhl, handpicked crony of Leopold, played well by Paul Giamatti. He is a man who answers the question “are you completely corrupt” with, “No, not completely…” He is also a man, as is Leopold, who is astounded by Eisenheim’s tricks and driven to know the answers behind the illusions, both because it is his duty as Leopold’s right hand man and because he is simply curious. While Giamatti is curious, Leopold is rather hurriedly infuriated, obviously threatened by Eisenheim and his willingness to challenge him with his magic if not his words, even more so when he learns of the secret affair the Sophie and Eisenheim have begun.
Unfortunately this is all a little less than compelling. Eisenheim’s illusions are compelling, but in the end it’s all about the love story. What did Eisenheim do to become Eisenheim? The story of a chance meeting with a magician, early scenes of him as a boy developing his talents, and the explanation of years of world travel centered in the orient are all intriguing, but they pass by much too quickly, leaving us with a rather boring love story. Yes, the crown Prince is evil and he abuses women. We know that Sophie will not wish to end up with him. And Giamatti’s inspector, who often provides moments of comic relief, seems like he can’t be as bad as the prince wants him to be. After all, he’s not completely corrupt. Finally there is a twist that may seem surprising and intriguing to some and involves a sort of symmetry and depth, but this reviewer found to be too much too little too late.
Written and directed by Neil Burger, this period story of a magician driven by love is richly and warmly photographed. The period is well enough invoked, with stunning set-pieces of old stages where torches burn as Eisenheim astounds with his powers. Phillip Glass’ score is insistent if unremarkable. This is a decent film, not a great one. It relied too much on the love story and not enough on the mystique of Eisenheim and his illusions. Implicit in the subject matter is the irony of watching a film about a magician, when a film is an illusion all the way thru. This wasn’t enough to carry it. Hopefully ‘The Prestige,’ Christopher Nolan’s upcoming period piece about dueling magicians, will delve deeper into the intrigue of the magic.
Story: B-
Turn of the century European Magician? Good. Love story? Normal. The combo? Above average. Oh, and a twist that by the time it arrived, I wasn’t very invested.
Acting: B Strong all around, but Sophie and Leopold are less than three dimensional characters.
Visuals: B+ Often satisfying, richly photographed.
Originality/Innovation: B- Just that it is a magician story.
Enjoyability Grade: B
Overall Grade: B –
The pedestrian love story and underdeveloped characters took this film away from the excellence it could have achieved.
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