2006, USA
Crime, Drama, Fantasy, Mystery, Romance
Always be wary when a magician casually proclaims that he should make someone disappear. A threat is a threat, even for entertainment's sake. Neil Burger (Interview with the Assassin) directs this tale of sleight of hand and swift of sword based on Steven Millhauser's short story, "Eisenheim the Illusionist."
The dilemma is not so unusual. Edward and Sophie are young lovers from opposite sides of the tracks, or in this case in turn-of-the-century Vienna, opposite sides of the castle walls. Edward is from a humble woodworker's family, while Sophie is being groomed for her place in royalty. Her family line has ensured that her every step in life is arranged for the benefit of the heirs to follow, while he dedicates himself to learning the art of illusion. When their love is discovered they are forced apart, and he travels the world in search of its greatest secrets.
When they become reunited 15 years later, nothing much has changed. She has been promised to the country's future emperor, and he is a masterful magician. Their chemistry is just as potent as when they parted, leading to dangerous alchemy between themselves and the crown prince.
Rufus Sewell is deliciously evil as Crown Prince Leopold (Tristan + Isolde), with murderous rage simmering below the surface but just avoiding cartoonish buffoonery. Jessica Biel (Stealth, The Texas Chainsaw Massacre) finally proves herself outside of the bubblegum and action arena with a performance of quiet strength and candor. Edward Norton (Down in the Valley, 25th Hour) is reliable as the thinking person's actor, who infuses the magician's character into his being. And any recent film worth its salt would be remiss to exclude Paul Giamatti (Cinderella Man, American Splendor) as the curious but invaluable glue that brings them all together.
Mike Leigh favorite cinematographer Dick Pope (Vera Drake, Topsy-Turvy) strays from his usual heavy helping of realism and allows images to melt like the foggy focus of early film, conveniently allowing for a painterly effect in which to blend modern digital effects. Not overly obvious, these enhancements allow for more impressive tricks to be displayed onscreen, yielding what would have previously appeared as false and unbelievable.
And it is important that the audience outside of the film believe in the magic as much as the stage audience within the film, for it is the magic we must take for granted. The illusion acts as a sleight of hand for the real trick, and an act within an act is no small feat. As the magic show distracts from the real drama, the filmmakers are pulling coins from behind our ears.
We almost forget that while Giamatti's inspector is enchanted by the instant growth of an orange tree onstage, he should be questioning the motives of his ticket to future career success, the crown prince. And curiously, it is the prince who is the only witness of the tricks to conclude that the answers lay in deceit, not the supernatural. Having no patience for such amusements, he seeks to shatter the illusion for others if it provides no advantage for himself.
This film is beautiful in its imagery and clever in its execution. Though the conclusion may not come as a complete surprise, the fact that it ends without revealing each hidden step is refreshing. Because in the end, do we really want to know how the magic is performed, or do we want to enjoy the journey?