Not Coming to a Theater Near You

The Illusionist / Czech Republic/USA / 2006

It’s mildly frustrating to witness a film dedicated to deception using such a tired trick. In this case, Neil Burger’s film is basically a retread of Bryan Singer’s The Usual Suspects during its finale, so its reveal is much less satisfying. However, while Singer and McQuarrie’s effort deliberated on the nature of narration, Burger’s film admits its trickery almost immediately simply due to its subject matter.

Similar to Singer’s film, one’s appreciation of The Illusionist may rely heavily on our acceptance that our protagonist isn’t really as noble or virtuous as he appears. In fact he might actually hinder the progress of the society he claims to protect. However, while The Usual Suspects expressed how the ruthless individual could conquer the committed collective – perhaps a modest illustration of how corporate capitalist interests can discard its low-level laborers (and maybe socialism altogether) – The Illusionist features an explicitly personal conflict between opposing authoritative egos, both insincerely claiming to serve in the interest and welfare of their supporters, but in actuality acting for entirely selfish purposes. Oddly, while it initially appears as though Burger has constructed his central struggle between monarchy and democracy, or perhaps politics versus faith, or just the modern versus the archaic, it turns out to be more akin to tyranny versus celebrity. What remains is more of a cautionary tale against valuing devotion over reason and clinging to the metaphysical instead of embracing tangible progress, or at least mistaking advancement for miracles. Interestingly, the film also makes an argument for ignoring the personal flaws of political leaders when their policies may result in advancement for society, though this probably only becomes noticeable upon reflection of the entire narrative.

Burger’s reach and grasp may not be uniform, but his ambition is dignified, especially considering his setting in an unstable turn-of-the-century Vienna, struggling with a variety of opposing movements, and is probably ideal for an exploration of such themes. Burger is aided considerably by a fine cast, including Paul Giamatti as a skeptical but captivated police inspector, who acts as the viewer’s witness and narrator to the unfolding events and probably represents the prevailing perspective of apprehension during the period. Equally accomplished is the cinematography of Dick Pope, who casts his murky images in obscuring mists and muted colors, elevating the sense of unease that Burger attempts to create while constructing his frame into a stage in order to convey the theatricality of his illusions.

The real trickster may actually be Burger’s lead actor. Though the always reliable Ed Norton delivers yet another satisfying performance, one wonders if he just chooses his parts based on whether or not the script has a shocking third-act bombshell that causes the viewer to appreciate his casual interpretations of remarkable men disguised as ordinary guys. It’s a cunning little career move in that the majority of his roles are based on being believable as a typical anybody, while a twist in the narrative adds layers to a seemingly standard performance.

by Chiranjit Goswami | Source: Yari Film Group Releasing 35mm Print
01 Sep 2006 4:49 PM | Submit Comment