Magic has always been captivating. The impossible made real, yet with the ever lingering knowledge that it's all a trick. As the old saying, 'nothing is what it seems', something grand only occurred through the simplest effect. Nothing is what it seems is director Neil Burger's aim for The Illusionist, for magic is his smoke and mirrors surrounding what is simply a love story. Situated around Vienna towards the turn of the twentieth century, illusionist Eisenheim has propelled himself as a famous magician, with many claiming he holds supernatural powers. During one of his shows, Eisenheim discovers his childhood love Sophie is betrothed to Prince Leopold. Both wanting to rekindle their love, Eisenheim becomes investigated by Inspector Uhl, by Leopold.
The Illusionist walks a line of reality and fantasy, where the magic of the impossible enters reality. The illusions presented while gasping one second lose credibility. The Illusionist grounds itself in reality, though it's illusions run in a realm of fantasy. Suspension of disbelief may be the ultimate trick for this film, but lack of revelations stunt this from happening, for the illusions are deemed impossible for this point in history. It's a brave move on Burger's part, keeping answers locked away on the workings of Eisenheim's tricks, his exercise in the slow burn pace to find your own answers in the surrounding details, which will enthrall or irritate, lead to a conclusion with missing pieces. Burger's main concern is the love story.
While it's at the heart of The Illusionist, the romantic arc between Eisenheim and Sophie works best as a soap opera. Dull and no spark of romance, with a lack of chemistry between Norton and Biel. Norton walks around so wooden and stiff, Biel maybe in her best performance, lacks depth. Giamatti is flat as Inspector Uhl and Sewell is overly pompous and one dimensional as Leopold; his tyrant prince and wife hitter miss much subtlety. The all round flat performance are not helped either by Philip Glass's score, which constantly rubs against the grain, failing to inject any dramatic tension. Burger's directing rather heavy handedly, increases may of the awkward moments, though cinematography by Dick Pope makes for some visual intrigue, while the amber seeped into the visual mix tries to pound the note of a period theme to hard.
The Illusionist will captivate many, with too many lose ends floating around and flat performances, the magic surrounding The Illusionist is rather empty and non-captivating. Inspector Uhl sums The Illusionist up best, "You Look Ordinary". This is an ordinary affair.
The Illusionist walks a line of reality and fantasy, where the magic of the impossible enters reality. The illusions presented while gasping one second lose credibility. The Illusionist grounds itself in reality, though it's illusions run in a realm of fantasy. Suspension of disbelief may be the ultimate trick for this film, but lack of revelations stunt this from happening, for the illusions are deemed impossible for this point in history. It's a brave move on Burger's part, keeping answers locked away on the workings of Eisenheim's tricks, his exercise in the slow burn pace to find your own answers in the surrounding details, which will enthrall or irritate, lead to a conclusion with missing pieces. Burger's main concern is the love story.
While it's at the heart of The Illusionist, the romantic arc between Eisenheim and Sophie works best as a soap opera. Dull and no spark of romance, with a lack of chemistry between Norton and Biel. Norton walks around so wooden and stiff, Biel maybe in her best performance, lacks depth. Giamatti is flat as Inspector Uhl and Sewell is overly pompous and one dimensional as Leopold; his tyrant prince and wife hitter miss much subtlety. The all round flat performance are not helped either by Philip Glass's score, which constantly rubs against the grain, failing to inject any dramatic tension. Burger's directing rather heavy handedly, increases may of the awkward moments, though cinematography by Dick Pope makes for some visual intrigue, while the amber seeped into the visual mix tries to pound the note of a period theme to hard.
The Illusionist will captivate many, with too many lose ends floating around and flat performances, the magic surrounding The Illusionist is rather empty and non-captivating. Inspector Uhl sums The Illusionist up best, "You Look Ordinary". This is an ordinary affair.