For fans of early 20th century filmmaking, German Expressionism, and film history “The Illusionist” is a visual delight. Though weak in dialogue and somewhat predictable, this homage to film’s infant years is an aesthetic wonderland.
In turn-of-the-century Vienna, the traveling illusionist Eisenheim (Edward Norton) performs grand parlor tricks for the city’s elites. Drawing large crowds and much adoration, his acts begin to garner the attention of imperial dignitaries, including the empire’s future ruler, Crown Prince Leopold (Rufus Sewell). Eisenheim’s insolent attitude toward the prince, accompanied with his closeness to Leopold’s fiancee, Princess Sophie (Jessica Biel), eventually lead to the cancellation of his show. Shortly following the show’s demise, a prominent imperial figure is murdered leading to a city wide investigation. The death raises the ire of Eisenheim who, in response, buys his own theater and opens a new show focused solely on conjuring the “spirits” of the deceased. The new show’s popularity amongst Vienna’s lower and middle classes – groups who question the Crown Prince’s honesty and ability to rule – lead to show surveillances and eventual crackdowns by Vienna’s Chief Inspector Uhl (Paul Giamatti). The situation ends with Eisenheim being interrogated and the real truth about the murder being revealed.
Though the film’s hackneyed outcome is not difficult to figure out and its subtle twists and turns something out of a Goosebump’s title. Its flow and goofy progression is reminiscent of Robert Wiene’s 1920 classic “The Cabinet of Dr. Caligari” and to a lesser extent F.W. Murnau’s “Nosferatu” (1922). This is fitting considering director/screenwriter Neal Burger’s obvious appreciation of film’s social and stylistic history.
Combining early film editing techniques, Expressionist style, Wellesian angles and modern film technology, Burger creates a film that is stylistically brilliant. He pulls out all the stops: fading in and out of scenes, tracking in, out and around characters and sets, experimenting with deep focus, using quick edits, etc. It is not often that a director can outshine the talents of both Norton and Giamatti at the same time. Burger does. His grasp of film’s technical history, its various evolutions and his ability to amalgamate them into one film makes “The Illusionist” worthwhile.
An homage to film’s humble and creative beginnings as well as its technical advances, “The Illusionist” captures the transformation of film via Eisenheim and his illusions, from its humble beginnings to social acceptance. This is a film for film historians and fans of movie history. An allegory for film’s acceptance in society and its place in the art world. It’s a movie that presents film at its absolute infancy, straddling the line between total acceptance and vanishment. For this reason the parallel between film and filmmaker and the parlor act and illusionist works brilliantly. Its a shame that such a well thought-out movie is hindered by such poor story telling and dialogue.
