The Illusionist

by Ari

The Illusionist is a solid, if unremarkable romantic, mystery entertainment that works because of its many surprises and mystical, confounding amusements. While the narrative is based in a not-so-riveting romantic entanglement between one fairly well-realized male lead and his basic, but not horrid supporting love interest, their personal drama is not where the film’s greatest pleasures lie. Writer-director Neil Burger has a crafted a quiet, classical piece with handsome production values, a beautiful score by Philip Glass, and an extremely talented cast that includes Edward Norton, Paul Giamatti, Rufus Sewell, and Jessica Beil. The rather subdued tone gives it an almost masterpiece-theater quality, but the strong actors give the material (which is sufficiently well-written for what it is) a more cinematic level of professionalism. Like any entertaining con film, The Illusionist is most enjoyable because of the mysterious talents and intriguing schemes of the lead character. The drama really lies in the bewilderment that you as the audience and the supporting characters feel towards the tricks and illusions presented. It’s that dangerous sense of awe that makes you ask yourself “what exactly is he doing and how?” The amusement of seeing the title character outwit and outclass every character interested in his abilities, whether supportive or threatening, is why the film engages and thrills. It’s a simple, but worthwhile experience.

The Illusionist opens with an intensely focused Eisenheim the magician (Edward Norton) facing a captivated, speechless sold-out audience, creating what seems like real magic. A spirit manifests on stage and the police, lead by Chief Inspector Uhl (Paul Giamatti), immediately arrest him. Inspector Uhl is summoned by Crown Prince Leopold (Rufus Sewell), who desperately wants the secretive magician ruined. Giamatti’s voice-over commences, and we’re suddenly taken back many years earlier to hear about how a young boy became the highly gifted, or maybe even the supernatural. The young Eisenheim uses his growing abilities to impress a girl far above his social standing in early 1900’s Vienna. They fall in love despite their romance being forbidden, and are eventually separated for good.

After travelling the world for many years, he returns to Vienna as an adult to present his astonishing gifts to the masses. Among the impressed are Inspector Uhl and the Crown Prince, who’s soon to be wife (Jessical Biel) just happens to be Eisenheim’s childhood love. This complicates matters for all characters, since an affair and chaos ensues. Leopold wants Inspector Uhl to uncover the magician’s secrets, while Eisenheim plans on running away with his lover. When there’s a sudden and unexpected murder, the situation becomes more complex and bizarre, leading to uncertainty about what is real, or perhaps just an illusion. Burger does an excellent job maintaining interest and suspense, implying Eisenheim’s talents are supernatural, but never really giving the absolute, definite answer. In lesser hands it would be frustrating or unfulfilling, but Burger develops the characters with an enticing sense of mysticism and allure, even if a good portion of the material makes no sense whatsoever. The Illusionist is a subtle fantasy adventure done with artful taste.

Edward Norton and Paul Giamitti have already established themselves as two very accomplished actors, and their work here only continues their respective galleries. Norton is excellent as the dark and enigmatic magician, while Giamitti shares the audiences perception of the events with intelligence and humor. Rufus Sewell, one of the most under-appreciated actors today, is terrific as the jealous and angry Crown Prince, sharing some of the best sequences with Norton and Giamatti. Jessica Biel holds her own against three of the finest contemporary actors, demonstrating strength and sensuality in a tame, generic role. The Illusionist isn’t the most emotionally charged of films, but the actors convey the necessary arcs (and accents) with ease, perfectly becoming the characters of the period. A joy to watch.

Cinematographer Dick Pope (Naked, Topsy-Turvey), Production designer Ondrej Nekvasil and costume designer Ngila Dickson deliver commendable work in recreating Vienna. The imagery feels real and authentic, making it that much easier to escape into a bygone world.

Like Eisenheim’s final show, The Illusionist is full of surprises, most of them worth the admission. This late-summer entertainment is the best of the season, a fine example of quality, artistic escapism.