This is not a Review. This is only an Illusion.

Author: David H. Schleicher from New Jersey, USA
21 August 2006

"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.

Must see mystery!

Author: (rublico) from United States
30 April 2006

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.

Make Us Disappear

Author: David Ferguson (fergusontx@gmail.com) from Dallas, Texas
27 August 2006

Greetings again from the darkness. The trailer and two male leads for this one made it a must see. What we get is an incredibly stylish, cool work of art ... and a decent (not great) film. Director Neil Burger, whom I know nothing about, has obviously studied Hitchcock and some of the great period pieces in Hollywood history. His lighting and shot selection are beautiful.

What is missing here is a captivating, suspenseful story line. Really only two half-developed sub-plots exist. The first one is, will the Police Inspector (played brilliantly by Paul Giamatti) "catch" Eisenheim (a mesmerizing performance by Edward Norton) in the tricks of his illusions? The second, and much less interesting, is the odd love story between the long ago adolescent friends (Norton and Jessica Biel). This second story is borderline preposterous as we are supposed to believe some unbreakable bond occurred between these two at age 14 that even 15 years apart (and maturity and life lessons) could not break.

Missing suspense aside, this is a very entertaining film thanks to the style of the film and the joy of watching two of our best working actors - Norton and Giamatti. We actually sense Norton's pain throughout and Giamatti again wreaks eternal resignation to his plight. Also adding to the fun is popcorn evil bad guy, The Crown Prince, played well enough by Jude Law lookalike Rufus Sewell. Luckily, Biel's contribution is limited to big hair, big lips, a big smile and very few lines of dialogue.

The spiritualism of this era in Venice is touched upon, but actually very little historical significance is given to the Illusionists of the time, who were worshiped by the masses until they were exposed and then deposed.Definitely worth seeing, but disappointing due to its lack of story breadth and substance.

TRIVIA

-Although the story is fictional, some of the details are based on the life of Austrian Crown Prince Rudolf, only son of Emperor Franz Josef. The painting of the emperor which Eisenheim creates is an actual portrait of Franz Josef. The bodies of Rudolf and his mistress, the Baroness Mary Vetsera, were found at his hunting lodge Mayerling on January 30, 1889 in what is now known as the "Mayerling Incident". This was initially covered up by the Imperial Family, creating controversy and mystery.

-When Prince Leopold is approached by Inspector Uhl, while hunting, to inform him of Eisenheim and Sophie's meetings, the Prince asks what they were seen doing together. The line about if they were seen "fornicating" was originally filmed as him saying "fucking" instead. They dubbed in the word "fornicating" to avoid an R-Rating in compliance with the MPAA's policy that the f-word not be used in reference to intercourse in a PG-13 film.

-Edward Norton did many of his own magic tricks, with the coaching of James Freedman. He worked with Norton preparing him for his stage performances and acted as a hand double in numerous situations.

-Jessica Biel replaced Liv Tyler, who dropped out of the film just as filming was about to begin.

-The character of Eisenheim is closely based on the magician and supposed clairvoyant Erik Jan Hanussen, who was famous in Vienna in the early part of the 20th century and was murdered by Nazi soldiers in 1933.

-The trick of the Orange Tree was made famous by a 19th Century French magician named Robert-Houdin. It was from Robert-Houdin that another magician, Ehrich Weiss, came up with the stage name "Houdini." This trick is first mentioned in old Indian manuscript as an illusion by Faux. Analogical trick was also performed by Pinetti, an 18th Century magician, but instead of oranges, he used lemons. Houdini was the first one to use real fruits.

-The character portrayed by Philip McGough is shown in the credits to be named Dr. Hofzinser, after a prominent sleight-of-hand artist.

-So that the crew would not have to use CGI to "fake" the magical illusions seen in the movie, Norton received intensive training in sleight of hand and other stage magic techniques from British magician James Freedman and American magician Ricky Jay.

TRIVIA

-The character Prince Leopold says during a performance of Eisenheim at the palace: "He tries to trick you ... I try to enlighten you. Which is the more noble pursuit?" This reference is to a famous slogan the RJ Reynolds tobacco company used in the 1930's that said "It's fun to be fooled ... it's more fun to know." The slogan was combined with adverts showing the secrets behind famous mysteries. The impetus for this was a tribute to the popularity of the American magician Horace Goldin.

-During the scene where Eisenheim is performing at the Hofburg, he places the Crown Prince's sword upright on the stage. The first officer who attempts to lift it is unable. The second person to try - to whom the Crown Prince says "Not so eager, cousin" - is also unable. That second person was probably meant to be Karl von Habsburg-Lothringen, who succeeded "Crown Prince Leopold's" father, Franz Josef, as Emperor in 1916.

-According to the director's commentary, Jessica Biel dressed in a period costume for her audition.

-The love scene was entirely lit by kerosene lamps. By the end of each take, the small room was filled with smoke that it was hard to see.

-Although the film is set in Austria, it was filmed mostly in the Czech Republic.
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-Aaron Taylor-Johnson, who plays the teenage Eduard in the beginning of the film, also learned how to do the ball trick.

-The method for creating the ghosts as shown to inspector Uhl involved the projection of a pre-recorded image into a hazy background. Since the ghosts Eisenheim conjured could speak to and interact with the audience, he most likely used a different method popular among magicians at that time. A fantascope was used to illuminate a real person off stage. The image was reflected off of a mirror or glassplate, creating a ghosted image. The lanterns that Eisenheim tells his assistants to leave behind when they are packing up the workshop bear a strong resemblance to fantascopes.

-Director Cameo
Neil Burger:  man projected onto smoke when Uhl tries to see how Eisenheim does his 'ghost' trick

 
-The trivia items below may give away important plot points.
The original story on which the movie is based does not include the artifice of the protagonist framing the Duke for murder. The protagonist gets away with a serious crime and yet is made to seem justified in this film. However, it was stated earlier in the story that Leopold had actually killed another woman to cover up the fact he was abusing her. Also, he was planning to overthrow his father, the Emperor. This would have been considered high treason and was punishable by death, even if you were a member of the royal family. Therefor, Leopold did pay for his previous crimes, albeit in a roundabout manner.

-When inspector Uhl and his men are searching Eisenheim's workshop he picks up a glass bottle with a dark red liquid in it. This is the same bottle Eisenheim placed in the suitcase he gave to Sophie before her 'murder'. It contained the blood mixture used to fake the murder.