L'illusionniste

In 1959 Paris, Tatischeff's old magic tricks with his vicious chubby white rabbit are not exciting the crowds anymore. He is slowly losing jobs and working in worst venues. Performing in London, he accepts an invitation to a remote Scottish island. He befriends Alice. He moves on to Edinburgh and is followed by Alice who thinks he possesses real magic.

There is a melancholy feel throughout this movie punctuated by moments of charming light comedy. The magician's world is slowly fading away. It does take something out of you. The animation is old fashion. It is very touching and full of lost. This is a sad poignant movie.

"The Illusionist" was good, but I don't see what the great reviews were about. (I agree with a previous writer who compared all the glowing reviews to "The Emperor's New Clothes.")

The animation was, indeed, subtle and exquisite, but I couldn't get into the story. Maybe the story itself was too subtle for me. Maybe I expected too much, since I thought "The Triplets of Belleville" (same director; hand-drawn animation) was one of the best movies I had ever seen.

I felt no connection with either the man or the girl. The other characters popped in and out so quickly that they were almost forgettable. And the ending was unsatisfying.

If I had seen this first, it would not have prompted me to see 'The Triplets of Belleville'.

NOTE: This is NOT a movie for children.

Based on an unpublished script by Jacques Tati, The Illusionist follows a magician named Tatischeff, a man whose art form of illusion is dying. He begins taking any job that comes along his way, and even while in Scotland, is accompanied by a young girl named Alice. Tatischeff and Alice develop a sort of father/daughter bond, and Tatischeff ponders his own life as well.

The film is directed by Sylvain Chomet, the man probably best known for his 2003 animated art-house feature The Triplets of Belleville. One thing that I simply adore about The Illusionist is that Chomet follows closely to the phrase "Actions speak louder than words." The film's dialogue is minimal, and for it's storytelling relies almost entirely on animation, body language, and a simple, but beautiful musical score written by Chomet himself.

This isn't even mentioning the animation style itself. I've seen many 2010 movies, but The Illusionist is easily the most gorgeous. The characters are given fluid and realistic movements, and the ambient surroundings of the city and hillsides are outstanding examples of art-direction. I practically had to suppress the tears (And no, I'm not kidding).

You may find a movie you like better than The Illusionist, but frankly, I don't think you'll be able to find a SINGLE. DAMN. MOVIE. more beautiful than this one.

I give it ***1/2 out of ****

All my scepticism was futile, thank God! This animated charmer really oozes Tati's peculiar brand of character comedy from every single pore.

Yes, the story is more sentimental and streamlined than the master's original efforts, but Tati's central issues (such as old-fashioned life-styles and values confronted by modern technology), his eye for detail, his pleasantly reserved humanity and his wonderful sense for comedic timing and subtle gags are all left intact by the careful makers of this gem. And the rendering of the Hulot character with all his distinctive mannerisms is a joy to behold.

Plus, it's good to see beautiful hand-drawn animation for a change (with sparse use of CGI techniques.)

8 out of 10 querulous white rabbits

This is a French-British animated cartoon adapted from a script by Jacques Tati with a vaudeville magician main character who looks and moves very much like Tati. Like Tati's films, it is basically a silent, with a few miscellaneous lines and mumblings here and there. It's a very pleasant if wistfully melancholy look at the dying era of live music hall entertainment, set in 1959. The action starts in Paris, and as our protagonist goes on tour it moves to London and then Scotland, where it remains for the rest of the picture. There he meets a young hotel maid who latches onto him like a father figure and the pair try to survive on what he can earn.

It's a nice little film that should have gotten more recognition (it was nominated for the Best Animated Feature Oscar) but the fact that it's a cartoon but essentially a drama (despite frequent droll Tati-style humor) was likely too confusing for mainstream cineplex audiences to wrap their heads around. Tati fans will appreciate the bit where the guy walks into a movie theatre playing MON ONCLE.