The Illusionist: Movie & DVD Review (2006)

(Originally published 2006)

In "The Illusionist," a satisfying period mystery from writer-director Neil Burger, it’s the rich, shadowy atmosphere of Dick Pope’s cinematography and Ondrej Nekvasil’s production design that grabs you first, then Philip Glass’ spellbinding score, which is nearly as great as his work in "The Hours," and then the story itself.

Like the best, most hypnotic magic trick, here is a movie that seamlessly draws you in, wows you and then tricks you, though you’re delighted by the trick even if you saw it coming, which likely will be the case for some of those who see it.

Set in turn-of-the-century Vienna - fittingly where Freud grew up and began his practice - this layered, beautifully measured film toys with your mind. It stars Edward Norton as Eisenheim the Illusionist, who is such a gifted and controversial magician, he eventually comes to fill theaters to capacity.

The key to his draw is that Eisenheim has developed an illusion so unaccountably real, one is forced to question that if it is indeed real, what are we to make of his abilities? It appears that he has the power to bring people back from the dead, which gives those in attendance hope that perhaps he might be able to bring back their lost loved ones, if only to allow them a fleeting chance to reconnect.

Each show opens with a single chair at center stage, with the flickering glow of the stage-light candles illuminating it as well as the eager faces in the crowd seated before it. Since Eisenheim isn’t without a flare for the dramatic, he comes to the chair with his head cast down before sitting, taking a breath and calling the dead to him by lifting an outstretched hand. Eventually, he conjures wavering images of the deceased - either a man, a child, or a woman come to the forefront. It’s the woman who gets him into trouble.

When Eisenheim was young, he fell in love with the duchess Sophie von Teschn, whose royal blood wasn’t exactly a suitable mix for his pauper’s blood. Spirited away by her family, they were separated for years, until one evening, at one of Eisenheim’s performances, he meets Sophie (Jessica Biel) again.

Their connection is undeniable, yet a disconnect is at hand. Sophie is engaged to Crown Prince Leopold (Rufus Sewell), a ruthless man who is so insecure, he decides to ruin Eisenheim for two reasons. First, he can’t grasp the man’s illusions, which infuriates him, and second, because it gradually becomes clear that he’s losing Sophie to Eisenheim.

Reluctantly assisting Leopold in his quest to doom the magician is Chief Inspector Uhl (Paul Giamatti), who narrates the story and who becomes stunned by the ease with which Eisenheim turns the tables on Leopold in the wake of a grotesque murder.

Deception and betrayal all are part of the melodramatic mix - as are several fine performances from the excellent cast. As for the ending, pay close attention. Unlike most magicians, Burger has the burden of being a director, which means that for his film to succeed, he must reveal his own tricks lest he letdown his audience. In a final rush of images, he does - and, though it comes in a blur, the damned thing adds up.

Grade: B+