MOVIE REVIEW: ‘Illusionist’ finally shares wonderful imagery with audiences in Logan
This film was actually released nationally on Sept. 1, and although we had to wait a week before it reached Logan, it has proven to be well worth it. Everyone should go see this film. There is so much more to it than meets the eye.
Based on a short story called “Eisenheim the Illusionist” by Steven Millhauser, Edward Norton (“Red Dragon”) plays the title role as a mysterious and calm master of fantasy who has more than just magic hidden up his sleeve.
Set in Vienna at the turn of the 20th Century, Eisenheim rises up the ladder of popularity as he presents, show after show, feats of astonishing and unexplained majesty. In one memorable scene, he creates an orange tree, which grows only seconds after he plants the seed.
It doesn’t take long for Eisenheim’s magic to create a stir of curiosity within his audiences, (both on the screen and in the movie theater). One such audience member is the Crown Prince (Rufus Sewell, “Tristan + Isolde”), who assigns his loyal chief inspector (Paul Giamatti, “Lady in the Water”) to figure out how Eisenheim generates such convincing llusions.
The plot only thickens further as Eisenheim discovers that the Crown Prince’s enchanting fiancée, Sophie (Jessica Biel, “Blade: Trinity”), was once his own true love. The childhood lovers reunite and yearn to be with one another despite the controlling dominance of the prince, whose lust for power grows to raging proportions. As the chief inspector hunts down the secret lovers, he realizes, along with all of us, that the illusions from Eisenheim have revealed more than expected.
“The Illusionist” remains a quiet, subtle, patient film from beginning to end. But only until the closing credits do we begin to grasp the numerous meanings and hidden messages it contains.
Because this film is so gradual, it takes some time for it to gather steam and keep the storyline interesting. And, like the storyline, the color palette of the film is noticeably subdued, which equals the restrained performances from the actors. In most other films, these performances wouldn’t work. But in “The Illusionist,” every character serves as an integral component to the well-oiled machine of the story and all the performances fit perfectly, even though there are a few moments of dreariness that slow down their development.
Directed and written by Neil Burger (“Interview with the Assassin”), “The Illusionist” is a compelling and consistent drama that features great performances all around. Norton is always convincing in whatever role he adopts, and his portrayal of a concise magician battered by love is noteworthy.
Giamatti does well as a pressured investigator whose confidence crumbles slowly, but the biggest surprise of this film is Biel, who actually shows that she can hold her own with some of the best. Her turn as the aristocratic maiden is both vulnerable and conniving.
With blurry camera shots and a sharply constructed production design, this film shows us the delicate natures of mystery and how truth and illusion may not be so different.
Casey T. Allen is The Utah Statesman movie critic. Comments can be sent
to caseyal@cc.usu.edu.