The Prestige

Rating: 8/10 (4 April 2007)

The Prestige is another example (as if one is needed) of director Christopher Nolan's talent behind the camera. Here he has crafted an intimate film that feels like a blockbuster with such a natural flair for solid storytelling that I would have no difficulties in saying that he is - despite only making a handful of films - one of, if not the, best British filmmaker around.
The film concerns two magicians in turn-of-the-century London. Alfred Borden (Bale) is on trial for the murder of Robert Angier (Jackman), and the film slowly unravels the story of Borden's and Angier's friendship that, after a tragic accident that leaves Angier's wife dead, turns into a bitter rivalry. When Angier sees a trick of Borden's that he describes as "the best magic trick I have ever seen", he becomes obsessed with discovering Borden's secret.
Of Nolan's' films, The Prestige is most like Memento, at least in terms of its narrative structure. It is chronologically mixed up, forcing the viewer to pay constant attention to what is going on, as it can take a while to work out exactly when a particular scene is set (there are no subtitle clues or such like). This can prove slightly disorientating at first, but it is just another way for Nolan to keep his audience guessing, and keep the suspense up. Indeed, the constant build up of suspense feels in many ways like a well crafted horror film, with the film drenched in period atmosphere and misdirection.
On the topic of period, The Prestige is also noticeable for not forcing the time period on the audience. There are no sweeping shots showing us the grandeur of Victorian London or any such thing; the camera is constantly focusing on the characters, not their surroundings, and this combined with the use of a hand-held camera gives the film a near-claustrophobic feel, accentuating the mood still further.
Performance-wise, both the main characters give the best performances of their careers  Jackman especially showing depth that his recent blockbuster films have not allowed him to do. His portrayal of Angier first evokes our sympathy, but his descent into obsession quickly makes us reconsider who our loyalties lie with. Borden, who seems to be the clear-cut villain of the film, begins to steal our sympathies away from Angier despite knowing that he is certainly no better a person than Angier becomes. Of the supporting cast, Michael Caine is as strong as ever, and David Bowie's odd choice of casting is let go by his steely characterisation of Nikola Tesla. Only Scarlett Johansson disappoints with a dodgy English accent failing to give her role any spark. But her role is small and thus not a great dent to the film.
The film seems so based in a fictional reality that the more fantastical scenes that crop up (involving the real life character of Tesla and his involvement in Borden's/Angier's tricks) seem to go a little too far; stick with it though, and the result is an incredibly well constructed tale with brilliant performances that really will keep you guessing right up until the end.
The bad points? Well, like any magic trick, once you know the secret, the trick becomes less special. In fairness to Nolan, the audience has to know the big secret for the film to make any sense. However, as if the film was a magic trick, the ending takes something away from the rest of the film. It's not that it cheapens the film  indeed, the ending is handled quite expertly  it's just that one wishes the trick could stay and wonder us for a long time to come, rather than be revealed. It's a shame that films can't do this like true magic can, because otherwise The Prestige would be on it's way to being the perfect ten.
Rated: 8.5/10
More reviews at: http://www.thelazylounge.net