The Illusionist mesmerises all

Genre : Drama, Mystery, Romance, Thriller
Director : Neil Burger
Music : Philip Glass
Cast : Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell
Release Date : September 1, 2006
Run Time : 110 min


Storyline:
A young boy in Vienna who is obsessed with learning the art of magic falls in love with a girl who belongs to Austrian royalty. Although the parents forbid them to see each other, they cannot be split apart. Until one day they were found together and separated, causing the boy to leave. He travels the world to learn all that he can of the magic arts. The boy comes back to Vienna, 15 years later, and becomes famous as Eisenhiem the Illusionist. During one of his shows, he meets up with Sophie, his childhood love, who is now the Duchess Sophie, engaged to the Crown prince of Austria, Leopold. When Sophie tells him that her engagement to the prince is not of her choice, and that she still loves him, Eisenheim plots to be with her, also undermining the power of the Crown Prince in the process.

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The Point is:
A wonderfully acted, nicely polished piece of entertainment, but not made with the passion and drama it deserves. It's hard to say exactly whats missing - the performances are very good, especially Edward Norton is amazing as well as Giamatti, it is entertaining in an old-fashioned, mystery type of way, and it's beautifully shot. But therein lies part of the problem - it's too beautiful...too old-fashioned...much like a movie that tries too hard to impress us with its image and cinematography, and not engage us enough with a strong story.

This film will not make cinematic history, win an academy award or even be lauded by the critics, but when compared to the majority of films out there right now, it stands out as good solid entertainment. It does what Hollywood does best, taking you away from all the tiresome simplifications of complex everyday worldly issues and letting you escape, enjoy yourself for an hour and fifty minutes.

It is a story of lovers, their struggle to be together - a story that has been told a million times (and counting...) and yet it never wears out. The acting is restrained, the lovers have good chemistry, the villain is sufficiently believable and evil, the hero is capable and the plot is refreshingly interesting. Burger has managed to make a remarkable film. There is a very consistent tone to the visuals, a foreboding dreariness that perfectly depicts the subject and the period. The illusions are captivating and almost believable, the orange tree trick was in my view, the highlight of the movie. The love story is understated, yet touching. And Eisenheim is a compelling, sympathetic hero, blessed with such unconventional talents that the entire movie feels fresh and alive. This is storytelling at its best. So forget about everything and just enjoy yourself. Go to the movies - at least this movie and walk out with that hard-to-suppress smile on your face. It's positively therapeutic.

Continue reading the full review of 'The Illusionist' after the turn.

Review: The Illusionist
I saw this wonderful film when I was bored out of my mind last Sunday, I just picked the DVD at random. And I'm glad I did. The entire film is beautifully shot and realized and while it doesn't promise to keep you thinking hard, you will be surprised towards the end. It was thoroughly entertaining and innovative. This movie has it all: romance, suspense, star crossed lovers, magic and supernatural illusions.














"The Illusionist" is a very unique film that combines three genres that have been used in a million movies : the lush period piece, the feel-good romance and the ever-at-crosses "AHA!" mystery thriller (a genre which M. Night Shyamalan has single-handedly destroyed recently). Yet, the final product is surprisingly fresh and entertaining. Captained by a first time director Neil Burger, this is a very liberal adaptation of a Steven Millhauser story about a magician in Victorian era in Vienna, Shot entirely in the Czech Republic at gorgeously befitting locations, this is a beautifully made period piece, complete with genuine turn-of-the-century illusions, a wonderful soundtrack, lovely cinematography and an intriguing story. "The Illusionist" was perfectly set-up to be a monumental disaster, but with a graceful slight-of-hand and much appreciated restraint, it ends up being quite an experience.

















As with any period movie worth its salt, there's lavish attention to the very authentic set designs and costumes, representing the late nineteenth century Vienna. Even the horses are big, as were the breeds used back then. Director Burger puts a wonderful spin on the visuals with an acute attention to lighting (especially in the dreamily over-exposed flashbacks) and old fashioned camera techniques (witness the circular camera's eye closing to transition from scenes) to give the film the feel of being a fond memory of a classic movie from a bygone era. The entire movie actually flickers, like the lighting used in the film, lending a much enjoyed nostalgic feel.

The central romance plot where Edward Norton's Eisenheim the Illusionist and Jessica Biel's Duchess Sophie are star-crossed lovers separated by class and society, had all the makings of a snore-inducing cotton candy fluff. Crafted in an understated style that complements the greater plot, the movie ends up being anything but routine.


Edward Norton's performance was mesmerizing, as always. He has a soft, hypnotic voice that makes you want to listen to him. I bet if he makes a career shift to professional hypnotism, he'll make a killing. This man is in danger of being trapped by his own brilliance, as the audience will come to expect a masterful performance in every one of his films, which he unerringly delivers. He is perfectly cast as Eisenheim The Illusionist. His accent flows seamlessly and he simply disappears into the role, both in the scenes where he performs his magic for his audience and especially in the second half of the film when he turns into a man of very few words.















Jessica Biel, a former teen idol and TV star, at first seemed a horrific choice for this role, but she pulls of the trick. She looks quite breathtaking as the Duchess Sophie. Her performance as the woman trapped by social norms of the era, yet one who loves the Illusionist enough to risk it all is very convincing. She doesn't get to speak much, and she is there for only a few scenes, but Ms.Biel definitely puts in a very restrained performance.

















Even better are Rufus Sewell as the tyrannical crown-prince Leopold and Paul Giamatti as the chief inspector Uhl. Using a short story as source material, characterizations always have the potential to be paper-thin, but these seasoned pros add terror, humor, and gravitas through their great skills where lesser actors would've been wooden and cold. The real revelation to me was none other than Paul Giamatti. Paul's richly accented role was very refreshing and his scenes with Norton, where he is full of respect and begrudging admiration for the Illusionist's skills, are very enjoyable to watch. The supporting cast also worked together very well utilizing their odd, vaguely European and aristocratic accent. Though it seemed to me that the actors, at times, lose their accents, it really didn't matter after awhile.

The most interesting part of the film, which made me a believer, right from the start, was that magic seemed possible. It seemed real. It rooted itself in the supernatural, but then, it failed to grow. It planted the seed of the magical orange tree in your mind and then forgot to water it. All this might be even more compelling if the actual romantic plot felt stronger. But despite the impeccable skills of Norton, who makes this rather bland character interesting, and the so-so presence of Biel, their characters aren't as interesting as the tricks and magical wonders that Eisenheim creates on the stage.










If anything, the film felt stronger and with better purpose and strength when Giamatti is on screen, trying to figure things out. By the end his own revelation is probably the biggest trick of all, almost Shyamalan-sized, yet I find his performance is what sticks with me as opposed to the twists and surprises thrown to the audience. It's almost as if the iron-clad conventions of the plot and the intensity, passion and creativity of what goes on in Eisenheim's total control battle it out for dominance. Also, the way Eisenheim brings down the Crown Prince seemed too easy, one might think that challenging the monarchy, especially in those times, would be a harder and more dangerous task.

A more over-eager director would have completely sabotaged the fantastic ending to "The Illusionist" and ruined the movie. Burger handles it all very deftly, the grande finale where "everything is revealed" is a wholly satisfying conclusion that rewards the patient viewer and fulfills the lofty promises of the themes presented throughout the work. "The Illusionist" boasts an excellent music score from minimalist composer Phillip Glass that easily rivals some of his greatest works. Norton and Giamatti indulge in some of the best "staring" scenes since the days of the silent movie. The look on Giamatti's face and the positioning of his eyebrows as he watches Norton perform his illusions, coupled with Norton's eyes as he pulls off his tricks are priceless.