The Illusionist film review

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THE ILLUSIONIST

Period films about magicians are like buses: none for ages then two come at once. After the fantasy fun of The Prestige comes the more enigmatic The Illusionist. Based on Steven Millhauser's short story, this cleverly crafted tale pits magic against power in a battle over a beautiful woman. Bathed in a dark palette, its look echoes its haunting tone, with strong performances that accentuate its mysterious air, but without ever taking liberties.

Floating beyond reality, but within reason, director and writer Neil Burger has created a stylish and absorbing work of originality and vision. The extraordinary feats of deception performed by the master illusionist Eisenheim (Edward Norton) are as imaginative as they are impossible. But for the film to be most effective, its central theme of deceit is designed to extend to the cinematic audience as much as the theatre one he performs to.

Set in Vienna at the turn of the last century, the story begins with the romance between the young Eisenheim and the aristocratic Sophie (Eleanor Tomlinson). When their contrasting backgrounds prevent their relationship developing, he leaves his hometown to travel the world. The story resumes some fifteen years later when he has returned to Austria where he has become a celebrated magician. His reputation attracts the curiosity of Crown Prince Leopold (Rufus Sewell) who attends a performance with his intended bride, who he volunteers to take part in an illusion when Eisenheim asks for someone from the audience who is not afraid of death. The woman turns out to be the grown up Sophie (Jessica Biel) and it's clear their childhood pangs have not dwindled.

Suspicious of Eisenheim's powers and intentions, Leopold orders his arrest on spurious charges. The task is entrusted to Chief Inspector Uhl (Paul Giamatti) who, though in the service of Leopold, is an admirer of Eisenheim, with whom he shares a passion for magic. Sophie too is caught between the two men: in love with her childhood sweetheart, but betrothed to the ill-tempered Crown Prince.

Norton is pitch perfect as the aloof and complex Eisenheim, who maintains an inscrutability every bit as enthralling as his illusions. The one gripe is reserved for the ending. Including a montage sequence that unveils much of the preceding mystery is as unsatisfying as it is unnecessary. The wonder of magic is not knowing how it's done. Still, it was an enjoyable trick.

Kevin Murphy