The Illusionist

The slow pace of The Illusionist is actually a strong point. The moody, hypnotic music by Philip Glass works well with the pacing of the film. In every way the film is muted and low key. Ed Norton as the illusionist Emmerich underplays his role with a lack of expression that enhances the inscrutability of his character. The Illusionist is an interesting, well made romantic melodrama. Its title is the key to its plot, and if at some point you figure out how events are going to develop there is still interest in how they work themselves out.

There is an otherworldly ambiance to this film. It is a kind of “once upon a time” fairy tale. It begins with flashbacks to the early lives of the two principal characters, Sophie, the daughter of an aristocratic family, and Emmerich, the son of a cabinet maker. As children they remind us of Hansel and Gretel. These scenes are filmed in a hazy, unfocused and indistinct way that contributes to the slightly unreal and subtly stylized nature of the film as a whole. The boy has become fascinated with magic and is teaching himself tricks that he performs around town. The girl is entranced with him. Not surprisingly, they fall in love but are forced apart by her parents, who don’t want her consorting with peasants.

We move forward fifteen years, to the film’s present time. Emmerich has become a magician, or, in concert with the film’s title, an illusionist who performs incredible illusions before audiences. His reputation has attracted the interest of the Crown Prince, who one evening attends one of Emmerich’s performances with the woman he plans to marry. The Crown Prince sends her up to the stage to take part in one of Emmerich’s illusions. Not surprisingly (again), she turns out to be the girl from his youth. They still love each other. The problem which the film must therefore solve is how Emmerich and Sophie can find a way to be together and avoid being harassed and killed by the Crown Prince, who has a reputation for violence towards women and others, and who plans to overthrow his father and take the throne.

The Illusionist is set in Venice, Austria, at the turn of the 19^th century, when Europe was overrun with fascination about the occult and spirit visitations, a historical circumstance that Emmerich exploits in his acts. When he begins to summon up apparitions—ghosts and images of the departed—he begins attracting large audiences who do not doubt that he has supernatural powers. The film only hints at how he might perform his feats, but to its credit we never receive an explanation of his abilities. His stage illusions are impressive, but they are a means to an end in the film rather than its point.

Paul Giamatti is the most impressive element in the film. I associate him with films and characters that allowed him to play a version of himself—Harvey Pekar in American Splendor or Miles in Sideways or even Joe Gould in Cinderella Man. In this film he plays the Chief Inspector, Uhl, a corrupt detective who does the bidding of the Crown Prince in hopes of being made chief of police or even mayor of Venice when the Prince becomes Emperor. Giamatti plays this role in a wholly convincing manner that bears no trace of what I have come to think of as the Giamatti persona. In spite of himself, the Chief Inspector becomes fascinated with Emmerich’s abilities. Though he is the Crown Prince’s agent, supposed to report the names of those who are subversives, he also explains to Emmerich in one scene that he does not want to arrest him, that he respects him too much.

In a sense, Uhl is the narrative focus of the film, regarding events from the same viewpoint as the audience. His interest in Emmerich leads him gradually to view the Crown Prince in a different light, and his ultimate realization about the film’s great illusion proves redemptive, after a fashion. Giamatti is excellent in this role.

The production values of The Illusionist are high. It is well directed by Neil Burger, who also wrote the screenplay. Ed Norton is effective as Emmerich, though his role doesn’t require much of him. Jessica Biel is beautiful, and that is the most that the film requires of her. Giamatti is outstanding.

The Illusionist is all surface. It is entertaining in the best sense of the word, but there is not much substance to it. The illusions Emmerich performs, the beauty of Biel, the excellent performance by Giamatti, and the ultimate illusion itself—perhaps predictable, but enjoyable nonetheless—make this a satisfying film.