Movie Review: The Illusionist (2006)

Magic seldom works on film because movies are larger-than-life illusions projected through thin air, particularly in the age of computer-generated special effects, when every picture is vulnerable to unlimited alteration. However, even without blatant cinematographic enhancement, Eisenheim's bizarre, spiritualist accomplishments have a wow impact on the screen because they have an artistic refinement that defies deceit. Even if they're not genuine, they appear to be works of art.

Storytelling is a form of conjuring, and "The Illusionist" is smart enough not to lose its cool and stay out of the way of the fascinating yarn it spins, at least until the hectic last seconds.

That narrative has a magical Yiddish folk tale feel to it. Eisenheim (Aaron Johnson), the son of a carpenter, meets a roaming, sorcerer-like old man as a child, and his magical tricks inspire him to seek magic.

The kid and Sophie von Teschen, the sheltered daughter of nobles who despise Eisenheim, forms an emotional friendship. Until they are discovered together and wrenched away, the sweethearts maintain a passionate secret friendship.

Sophie begs him to make the two of them disappear as they are about to be routed from their hiding location in the woods, but his magic fails. Eisenheim discovers she is still wearing a necklace he gave her with his portrait in it, and the two former childhood sweethearts recognize one other. 

After 15 years of roaming the globe, Eisenheim (now portrayed by Mr Norton) returns to Vienna with an incredible bag of tricks. Sophie (Jessica Biel) has become the fiancée of Crown Prince Leopold (Rufus Sewell), who is plotting to become Emperor. Sophie volunteers to be a stage helper when he and Sophie go to an Eisenheim play.

Eisenheim discovers she is still wearing a necklace he gave her with his portrait in it, and the two former childhood sweethearts recognize one other. Their old affinity rekindles, and they soon begin an illicit relationship.

Chief Inspector Uhl (Paul Giamatti), the prince's hand-picked chief of police, is also watching the play. After Eisenheim claims that he can make the prince vanish, Uhl is tasked with uncovering the mysteries underlying his indecipherable magic.

Mr Giamatti's portrayal of an ambitious police officer from humble beginnings who finds himself trapped between an irresistible force and an immovable object is a refreshing change of pace, and he imbues Uhl with a seriousness that has echoes of Orson Welles and Claude Rains.

Eisenheim grabs the prince's sword, balances it on its point on the floor, invokes the legend of Excalibur, and encourages troops in the audience to remove it during a royal command performance. After Eisenheim releases the enchantment, the prince succeeds.

The prince is a handsome, dangerous control freak who goes into Hitlerian rages when crossed in Mr Sewell's explosive portrayal. He commits a murder during one of his outbursts, and the inquiry proves to be the final test of Uhl's character.

If Eisenheim's concurrent cat-and-mouse games with the prince and policeman have political, theological, and historical ramifications, "The Illusionist," shot in sepia, wants to leave them alone. This delightful film is content to be something like a sassy vintage folk tale that keeps you guessing until the very end, the movie is going to satisfy the needs of certain audiences that prefer mystery and romanticism to other existing genres.