Let's face it -- there are still a fair amount of superstitious and/or gullible people in the world, even in a presumably enlightened country like the U.S., but it was far worse in days gone past. Due to lack of knowledge, fear or any number of other factors, the credulous souls out there either made life miserable for others ("witches," cats, etc.) or fell prey to those who understood how to play the game (such as witch doctors, shamans and con artists).
Similarly, if one were a skilled magician, it would be easy to lead people into believing most anything, especially if they saw the illusion with their own two eyes and couldn't figure out how the trickery was achieved. Such is the case in "The Illusionist," a period drama based on the short story by Steven Millhauser. In it, Edward Norton plays Eisenheim the Illusionist who dazzles audiences with his trickery, not for the money (although his manager is motivated by that), but rather the challenge and self-gratification of pulling off an elaborate illusion.
Haunted by the inability in his past to make his childhood best friend Duchess Sophie disappear from those wishing to separate the two children due to their differing social classes, he's arrived in turn of the 20th century Vienna. Unaware his long-lost friend (Jessica Biel) is actually in attendance at one of his shows, he summons her to the stage for a trick, only to then realize this adult beauty is his former friend now grown-up.
Things would seem to be hunky-dory, but she's engaged to the Crown Prince (played by Rufus Sewell in yet another, scenery-chewing, bug-eyed performance as the villain) who just so happens to have already wanted the illusionist and his work debunked (assigning Paul Giamatti's chief inspector to do the dirty work) That doesn't stop a covert romance from developing, however, meaning the magician must pull out every trick in the book to keep her for himself, as well as away from harm at the hands of her nasty suitor.
There's obviously potential aplenty from that setup, but writer/director Neil Burger - working from his adaptation of Millhauser's short story -- fails to make it as interesting, engaging and yes, even as magical as it should be. And that's because based on the premise, we obviously know the "tricks" will extend beyond the stage.
Thus, a later and rather pivotal moment is too easy to decipher for what it really is (although the filmmaker seems to believe no one will figure it out), a point worsened by the end of the movie, capsule replay explanation of what really occurred (done in the usual TV murder mystery style).
But what the movie really needs is smarter and more copious amounts of trickery designed to keep both the antagonists and viewers off balance. Without that, the story is a rather straightforward affair, slightly buoyed by strong to good performances from Paul Giamatti and Edward Norton.
The former successfully plays against his stereotypical schlub persona, while the latter appropriately makes his character a mysterious, meticulous and rather intense sort. The character played by Rufus Sewell (who desperately needs a career makeover) is pretty much interchangeable with any other villain he's played of recent, while Jessica Biel is okay, but pretty much relegated just to being attractive enough to get the males competing for her.
Beyond the lack of off-stage illusions, the film suffers from lapses in logic, including but not limited to why the Crown Prince repeatedly tells the chief inspector to shut down Eisenheim's show rather than just have him removed, mafia style, albeit in a turn of the 20th century, Viennese way.
Films are all about illusions (character, plot and visuals), but while mostly looking the period part despite its all too obvious low budget and despite the theme and related opportunities, this one just isn't magical or tricky enough to wow its audience. "The Illusionist" rates as a 5 out of 10.
![[Logo]](/images/screenit_logo2.jpg){kind=logo}
