Illusionist

Review Of The Illusionist Movie 2010
It’s set mostly in the U.K. in about 1960, where a fairly average stage magician named Tatischeff (that was Tati’s real name) performs wherever he can. We gather he was once successful on the music-hall circuit, but that phenomenon — live shows with a variety of acts, all on one ticket — is waning, being replaced by television, rock ‘n’ roll, and other more modern entertainment. Now Tatischeff is lucky to get a gig in a noisy pub or at a company picnic. He lives alone with his rabbit, a vicious thing that will bite you if you try to pull it out of a hat.
While performing for a small but appreciative crowd in a Scottish pub, Tatischeff meets Alice, a naive young chambermaid who believes his sleight-of-hand feats represent actual Magic abilities. She joins Tatischeff when he returns to the city of Edinburgh, becoming something like a daughter to him as he keeps trying to make a living. They reside in a hotel populated by other crumbling vaudevillians: a trio of acrobats, a ventriloquist whose dummy is his doppelgänger, the world’s saddest clown, and so forth.
Tatischeff the magician, I should point out, looks very much like Tati, and in particular Mr. Hulot, the character Tati played in several of his films (including Mr. Hulot’s Holiday and Mon Oncle). Had Tati gotten around to making The Illusionist, he’d have played the magician. It’s easy to imagine it: Chomet’s version is animated, but it’s not “cartoonish.” The people are drawn as caricatures — I especially love the preening, prancing rock group Billy Boy & the Britoons — but their movements are essentially realistic and human. As in a Tati film, even the minor characters are distinctive-looking.
The Illusionist begins as a fairly jaunty story, filled with jokes and merriment, before evolving into something wistful and sad. It is the end of an era for the magician and his colleagues. The music halls are closing up. And the magician’s only real relationship is with Alice, this sweet girl who must eventually grow up and leave magic behind.
True to Tati’s intentions, there is almost no dialogue in the film. What there is, is spoken in the character’s native language (French, English, or thick Scottish brogue), with no subtitles. This adds to the story’s quiet simplicity, giving it a forlorn tone as it closely resembles the very type of old-fashioned entertainment whose extinction it chronicles.
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The Illusionist trailer
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The Hours (Score) $10.21 How better to score a movie that takes place in three tangentially related time periods than with music that strives for timelessness? The hallmarks of Philip Glass’s minimalism serve The Hours well. The film, based on Michael Cunningham’s novel, tells the stories of three women–Virginia Woolf in the early 1920s, a housewife just after World War II, and a book editor in the present–whose days re… |
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The Illusionist $11.70 Unlike his popular score for 2002′s The Hours, which was intimate and performed by a small ensemble, the music Philip Glass came up with for The Illusionist is quite opulent. Its old-world ambiance befits Neil Burger’s movie, a suspenseful period piece set in 1900 Vienna, but the score, performed by the Czech Film Orchestra, easily stands on its own as well. Glass’s trademark waxing and waning is … |
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Notes on a Scandal: Original Soundtrack $8.83 Philip Glass deserves his OscarĀ® nod for this superb, richly atmospheric soundtrack. His work on, say, The Hours may have been found overly sappy and intrusive by many, but Notes on a Scandal is a masterful example of what a film score can achieve. Glass has explained that he wrote it from the point of view of the Judi Dench character, who becomes increasingly obsessive and unhinged as the film p… |
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The Prestige $5.57 The Prestige attempts a hat trick by combining a ridiculously good-looking cast, a highly regarded new director, and more than one sleight of hand. Does it pull it off? Sort of. Christian Bale and Hugh Jackman play rival magicians who were once friends before an on-stage tragedy drove a wedge between them. While Bale’s Alfred Borden is a more skilled illusionist, Jackman’s Rufus Angier is the bett… |