|
|
Greetings!
The IFA presents a film review of The Illusionist.
 |
|
|
The Illusionist Works Cinematic Magic
By Lisa Johnson
Film Review by Lisa Johnson
The dark, haunting beauty of early 19th century
Vienna, the regal lushness of royalty and the
mysterious wonder of magic combine to make The
Illusionist feel like a jewel in an ancient treasure box.
It s not a flawless stone, but one with great value
none-the-less.
The Illusionist tells the story of a quick-witted
peasant boy who enjoys a poignant relationship with
a young baroness. Their innocent trysts are
discovered and they are forcefully separated, but
their heartfelt emotions are not forgotten. The boy
travels the world and returns to Vienna as Eisenheim
the Illusionist, (Edward Norton), and is reunited with
his true love, Sophie Von Teschen, (Jessica Biel) on
stage, when her fianc e, the supercilious Crown
Prince Leopold (Rufus Sewell), volunteers her to
participate in one of Eisenheim s illusions.
So intriguing, mystical and believable are Eisenheim s
illusions that Leopold begins to fear Eisenheim s
influence over the public, and over Sophie as well. He
sends his chief police inspector Uhl, (Paul Giamatti),
to expose Eisenheim and shut him down. But Uhl s
admiration for the Illusionist, combined with his own
thirst for power and a strong sense of morality,
create an intriguing conflict that will inevitably
destroy either the Prince or the Illusionist.
Norton plays his role with an eerie detachment ideally
suited to his character and proves once again that
he is one of the most gifted actors of our time.
Playing off Norton, Giamatti, in an a-typical period
role, is equally entrancing. Sewell provides an
appropriately despicable villain that stops short of
the melodramatic. Their balance is perfect for a film
of this nature, but unfortunately, Biel upsets that
balance. While her luminous, untraditional beauty is a
refreshing and welcome diversion, her vacant line
delivery reveals that she is in over her head with
these far more accomplished actors.
And then there s the Phillip Glass score, which is also
very much a character in the film. While he
composed some beautiful and original music for the
opening scenes, his trademark serial minimalism
creeps in and overwhelms the viewer with a feeling
of audio d j vu, to the detriment of what is actually
happening on screen. Glass s redundant department
of music composition department has tapped the
same well one too many times, and the lack of
originality is an injustice to this otherwise well-
crafted film.
The hastily thrown together and choppily edited big
reveal at the end is also a bit of a disappointment.
Up to that point, The Illusionist takes its luscious,
languorous time in unfolding. The plot gently and
firmly entices and intrigues, until the last few
minutes, when it feels as if it s been thrown in a
blender and hastily pureed. Details flash by so
quickly that the viewer feels the immediate necessity
of viewing the film again, either by buying another
ticket, or renting the DVD, which is perhaps what
was intended.
The richness of the lighting and set design, and the
overall quality of The Illusionist betray the fact that
this is a relatively low-budget, independent film. It s
welcome proof that superstars, astronomical special
effects and massive marketing budgets are not
essential ingredients in a stellar cinematic effort.
The fact that a film like Beerfest opens in 2,964
theaters, while The Illusionist opens in a paltry 51, is
a painful commentary on either the big studio system
or the perceived taste of the American public, or
both. But those who do have the opportunity to see
the film will be well-rewarded, enriched and will
perhaps feel as if they ve been gifted with their own,
intimate treasure, somewhat off the radar of the
beer-guzzling masses.
Find out more
|
|
IFA
Independent Filmmakers Alliance
phone: 1-866-959-FILM
| |
