The Illusionist - L'illusionista

I am a long time fan of the old theatre magicians and have been fascinated by the wave of spiritualism that swept both continents around the turn of the last century. This movie plays off those real life happenings, with the added twist of court and political intrigue. The movie is lush - as a period piece should be - with terrific performances from a true ensemble cast. Edward Norton has the charismatic gaze that makes you believe in every thing he does. Jennifer Biel is tragic and compelling as a woman trapped by society and dubious duty. Paul Giamatti - who seems to be in every other movie these days - is wonderful as a conflicted man unsure of whom he serves. Rufus Sewell, as the Crown Prince Leopold, is that man, and he embodies the boo-hiss villain. Vain and driven, he is larger than life and not one to cross, as the illusionist comes to find out. The music of Philip Glass fits the scenes and add just the right amount of tension. Plus the horses are very old world with large hooves and a heck of a lot of presence. A compelling and beautiful film.

I just saw this wonderful film at the San Francisco Film Festival as a surprise entry. Beautifully shot and realized, it keeps you guessing until the end as to the true outcome. It was throughly entertaining and innovative. This movie has it all: romance, suspense, star crossed lovers and supernatural illusions. Edward Norton is perfectly cast as Eisenheim The Illusionist. His accent flowed seamlessly and he simply disappeared into the role. The real revelation to me was none other than Paul Giamatti. Paul's richly accented role was not altogether unlike Tommy Lee Jones' role in The Fugitive. I found his scenes with Norton full of respect and begrudging admiration. It was an absolute joy to see these two pros at work. I will definitely be paying to see this one again when it's released theatrically.

And Edward Norton is absolutely right. Nothing in this movie is what it seems. I was floored by the end of this movie. This was a wonderful job by everyone, actors and director. I couldn't believe how it ended, I wanted to stand up and clap at the end because of how beautifully it was done. This movie really grows on you. In the beginning I wasn't really impressed, but by the end I was completely convinced that this was a real work of art. The acting was great. Norton, Biel, and Giamatti all did tremendous jobs in my opinion. This is the best fictional biography I have ever seen. This Eisenheim character seems like a real person and not someone based on a short story. Norton is slowly becoming one of my favorite actors, the guy has more range than I've seen from anyone in a while. He's always playing different characters and he always does a very good job. I think everyone should go and see this movie, it won't let you down.

"The Illusionist" is a unique film that combines two often stale genres into something fresh: the lush romantic period piece and the "AHA!" mystery thriller (a genre M. Night Shamalyan has single-handedly run into the ground recently). Helmed by a first time director (Neil Burger), based on a short story, and featuring an eclectic cast, "The Illusionist" had the perfect set-up to be a monumental disaster. With a graceful slight-of-hand, it ends up being something very good.

As with any run-of-the-mill period piece, there's a lavish attention to the set designs and costumes, here representing late nineteenth century Vienna. Director Burger puts a nice spin on the same-old, same-old 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 central romance where Edward Norton's title character and Jessica Biel's Dutchess are star-crossed lovers kept apart because of class and society, had all the makings of a snore-inducing cheese-athon. Executed in an understated manner that services the greater plot, it ends up being anything but. Norton's performance, especially in the second half of the film when he turns into a man of very few words, had the potential to be one-note. As an actor, he speaks volumes with his eyes. Biel, a former teen idol and TV star, seemed a horrific choice for this role. She pulls of the nifty trick of being quite good. Even better are Rufus Sewell as the tyrannical crown-prince and Paul Giamatti as the chief inspector. Using a short story as the source material, characterizations had the potential to be paper-thin, but these seasoned veterans make the most of their lines and scenes adding terror, humor, and gravitas through their vocal and physical deliveries where lesser actors would've been wooden and cold. The entire cast also worked together very well utilizing their odd, vaguely European and aristorcatic accent. Everyone used it so consistently and earnestly, it didn't seem to matter after awhile that the accent was unnecessary.

A more over-eager or pretentious director may have completely sabotaged the fantastic ending to "The Illusionist" and cheated the audience. Handled deftly by Burger, the grande finale where "all is revealed" is a wholly organic and 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 his great work done in "Candyman" and "The Hours." Norton and Giamatti treat us to some of the best "staring" since the days of silent films. The look on Giamatti's face and the positioning of his raised eyebrows as he watches Norton perform his illusions coupled with Norton's eyes as he pulls off his tricks are priceless.

Kind of a strange movie but very original and entertaining! It was a Gothic-romance period-piece drama-mystery, and quirky characters and a bizarre--or at least unusual--plot held my interest.

Edward Norton's character plays an inscrutable but romantic master illusionist. But is he just a master illusionist or has he developed powers to effect the creepy conjuring of those who have passed on? (Regardless, the guy is so easy on the eyes.)

Jessica Biel is beautiful and good in her role but I couldn't help thinking, "Hey, Jessica, Scarlett Johanssen called. She wants her lips back."

Paul Giamatti bothered me just a tad at first because he spoke in a near-whisper and had a scruffy beard so you couldn't read his lips. He got louder and his character developed pretty darned well, thank goodness. Actually, he was fantastic (so what else is new?).

The makers of this movie did the same thing the makers of Little Miss Sunshine did--made me want to see the film twice, but for different reasons: LMS because the first time I saw it, I laughed so hard I cried, and I really needed a laugh again (and got it); The Illusionist because I was like the audience for the title character's shows the first time I saw it--just kind of naive and awed and staring up at the action with my mouth hanging open. So I'll have to see it again and pay attention. Kind of like when my daughter told me to go see The Sixth Sense again and pay attention to what Bruce Willis's character was wearing. (Plot-wise, this is unrelated, folks--just a movie watcher's analogy.)

At first, the old-fashioned circle wipes seemed a little distracting, but in retrospect, they were part of the excellent movie-making decisions that created the illusion of time and place in this film. A really good story with really good art direction and really good actors, costumes and settings. Definitely worth a go-see--or two!