A fascinating period piece, with added value coming from Norton and Giamatti

Rating: 8/10 (15 April 2007)

Given the proximity in release dates, it's hard not to start comparing Neil Burger's The Illusionist and Chris Nolan's The Prestige: after all, both are based on novels, deal with magic and have the same key theme (the contrast between illusion and reality); unlike The Prestige, however, The Illusionist is a more cerebral thriller-cum-romance, every single event having a reasonable explanation.
At the center of these events we find the enigmatic Eisenheim (Edward Norton), a very talented magician who earns his living by entertaining early 20th century Vienna. Very little is known of his past, but then again that doesn't matter: what people really want to know is how he manages the impossible, like making an orange tree grow on stage or even, in the film's eeriest scenes, summon the dead. Particularly eager to prove everything has to be a trick is Chief Inspector Uhl (Paul Giamatti), who is intrigued and at the same time scared by the reclusive illusionist. What starts as intellectual duel between the two becomes something more complex when Eisenheim meets the arrogant Prince Leopold (Rufus Sewell) and realizes the latter's fiancée, Duchess Sophie von Teschen (Jessica Biel), is his lost childhood love. Old sparks reignite, and all of a sudden the story moves in a more suspenseful direction, the magician being forced to come up with something extraordinary to save Sophie from the cruel prince before it's too late.
And extraordinary things do indeed happen, as the director flawlessly uses everything he has (especially Dick Pope's Oscar-nominated cinematography and Philip Glass' stylish score) to provide the correct atmosphere of intrigue and mystery. In achieving this a major contribution also comes from the performances, Norton's elusive charm being the perfect counterbalance to Giamatti's cold rationalism. In fact, it is whenever the two are apart that the picture starts to feel a little lifeless: while Biel's work improves considerably in the second half of the film (a little bit ironic, actually: you will understand why once you have seen it), Sewell's one-dimensional pantomime is so annoying it becomes difficult not to wait for something bad to happen to him. Which brings me to the other weakness in an otherwise riveting piece of art: the ending. I mentioned earlier on that The Illusionist's climax provided a plausible explanation regarding every "trick" seen in the film. Unfortunately, said explanation also comes and goes so fast (forgive the expression) it might irritate more than please.
Overall, though, this is one of the most interesting movies to have come out recently. Just sit down, watch and let Eisenheim fool you. It should be a rewarding experience.