The Illusionist

Stories about the history of magic, particularly in the pre-television era of entertainment, are like catnip to me. I've read several books about Houdini, and enjoy watching and reading Ricky Jay's work about magic history. I've also read several novels like Carter Beats the Devil, which is about a stage magician getting involved in political skullduggery. So I enjoyed very much The Illusionist, a tale of a magician and his lost love and an evil prince.

I have no interest in what passes for magic today, the spectacles that are on the Vegas strip or the attention-seeking David Blaine. Although Blaine is certainly an heir to Houdini, his stunts seem to be far more craven (maybe it's because he bangs a lot of models). But I'm a sucker for the old hocus pocus of yesteryear.

The appeal of magic, I think, is that those who like it want to believe it's real, and the best stories about it leave that up in the air. So this is with The Illusionist. Edward Norton is Eisenheim, the title character, who has a somewhat fairy-tale past. As a youth he was in love with a girl far above his station, and was forceably separated from her. Later, as a famous performer, he meets her again by chance, and she is a duchess engaged to the villainous prince. The prince, clearly a rationalist, watches Eisenheim's show and wants to know how he does it. After a command performance at the palace, Eisenheim shows up the prince, and he earns an enemy. Through all this the police inspector (Paul Giamatti), who is a toady to the prince, keeps an eye on the magician's comings and goings.

The film is directed lushly by Neil Burger, who is unknown to me. Set in fin-de-siecle Vienna, the cinematography is reminiscent of old photographs, slightly diffuse, and rich in earth tones. The music is by Philip Glass, and while it is certainly recognizable as his work, it is not overtly contemporary.

Edward Norton is excellent as the illusionist, but it is Giamatti who steals the show. He expresses the many layers of a man who knows he is the puppet of power but is inherently decent. Rufus Sewell does well with a part that is essentially a cliche, how he resists twirling his mustache I don't know. Only poor Jessica Biel sticks out. Certainly lovely to look at, her performance is flat and doesn't create much chemistry with Norton.

This film requires some effort from the audience, it is not for the passive movie-goer. It starts slowly, but slowly absorbs you if you are willing to take the ride. It even has an ending that suprised me.

Interestingly, before this film there was a trailer for another film about the magicians, The Prestige, which is directed by Christopher Nolan. It looks good as well, so for those interested in magic the season is ripe.