Skilled magicians will make an audience believe that they can do things that are not humanly possible. In The Illusionist, Edward Norton stars as Edward Abramowitz, a magician in early 20th century Vienna who uses the stage name of Eisenheim. He is so good at what he does, he garners the attention of Austrian royalty. One day, Austria's crown prince Leopold (Rufus Sewell) attends Eisenheim's show with his fiancee, Duchess Sophie (Jessica Biel). When Eisenheim needs an audience member to assist on a trick, he selects Sophie. The trick involves a mirror and its images. Leopold is so taken with the performance, he arranges for the magician to do a show for guests at his palace. The Prince asks Eisenheim for magical secrets, he shares one. When Leopold wants more, Eisenheim politely declines. That does not please Leopold, who orders his staunchest ally in law enforcement, Inspector Uhl (Paul Giamatti), to find a reason to close Eisenheim's shows, which always draw capacity audiences.

Uhl, who fancies himself an amateur magician, takes a different approach to get Eisenheim to tell the tricks of his magic trade. He knows that Eisenheim first learned his skills as a boy, which got him attention from Sophie. Uhl also knows that Eisenheim was once involved with Sophie, and that relationship was ended by force. After that, Eisenheim left Austria for fifteen years, where he supposedly honed his skills with the help of those skilled in the art in the Far East. Eisenheim, though, is dealing with a desperate and determined Leopold. Sophie does not like the arranged marriage, and she is preparing to leave the prince. Leopold, though, has other ideas for Sophie, as well as for his father, whom he is plotting to overthrow. Violence does occur, which puts Uhl between serving his prince and doing what is right. When Eisenheim adds the conjuring of spirits to his act, Leopold insists Uhl take action.

The Illusionist shows details, but doesn't tell Eisenheim's intentions until the final scenes of the movie. He makes a living performing tricks, and he uses his skill to create a conflict. Eisenheim has never forgotten he was wronged, and he wants to see if he can do something to make it right. Screenwriter-director Neil Burger (working from a short story by Steven Millhauser) does a most credible job of balancing the movie's three main elements - mystery, romance, and magic. Eisenheim is a hit on the stage, but the big trick he wants to perform is to bring Sophie back to him. Leopold is royalty, but he is no gentleman. He shows that time after time to Sophie, Eisenheim, and even Uhl. Uhl knows that he has nothing on Eisenheim. Even as his art grows darker, Eisenheim makes sure he can stay one step ahead of the inspector. Uhl is in an unenviable position of dealing with two unwavering foes.

Burger has excellent control over a situation that happens at a crucial moment. He makes it look like certain things have happened, and it was a moment where I wondered most what, in fact, had happened. Burger protects the secrets of his film story almost as dutifully as Eisenheim protects the secrets of his success. Even when Uhl presses Eisenheim's assistants for details. They swear their boss isn't playing tricks during his show. Uhl might beg to differ, especially when he becomes a part of the act during one performance. Burger also emphasizes the awe in Eisenheim's work. Part of his act involves making an orange tree appear, with real oranges on it. Burger also pays great attention to detail in scenes such as the one where Uhl asks a colleague how Eisenheim might create the illusion of a spirit. The colleague cranks a movie camera as he explains to Uhl how that illusion might be created. Some might guess how the movie ends, but the answer is smartly saved for the climax.

Each of the four main players does a fine job with their roles. Norton is both smart and sympathetic as Eisenheim. He knows he has to be careful with the authorities, so he talks with a calm voice and a sleight of hand. In one scene, he shows he has not forgotten his beginnings when some youngsters ask him for money for food. He takes care of the wish in a way only a magician can. Giamatti is just as impressive as the civil servant torn between service and justice. Eisenheim knows that Uhl is a good man, and that they don't have issues with one another. Uhl, though, is a sad servant who comes to realize that the situation with Eisenheim and Leopold will not end well, and that the actions of Uhl himself will affect the outcome. Biel, whose big acting credit was her work on the TV series 7th Heaven, shows she's as willful as the man she's supposed to marry. Sophie has never forgotten the young Eisenheim, and never will. If Leopold were a kinder man, Sophie may well have accepted an arranged union with him. She understands, though, that her heart can belong only to Eisenheim, or a man like him. Sewell is arrogant and possessive as a royal who's determined to let nothing or no one stop him.

The Illusionist is about people in another place and time, but the story can represent the tribulations faced by any person at any time. Some could compare Eisenheim's situation to the situation faced by Americans with their leaders, who often seem more interested in showing their power instead of their compassion. Eisenheim faces a situation where he is denied access to someone who cares about him, but the powers that be are not the least bit concerned with what anyone wants except themselves. Eisenheim, though, does not resort to violence to change the way things are. Violence, he knows, is a situation where nobody wins. He wants his voice to be heard, and he wants his answer to come from the person who needs to answer his questions. A little bit of magic doesn't hurt Eisenheim, as long as he sees that the end result is not an illusion.



(Author's note: Comments give away major plot points. It is advised to simply add commentary if you have not seen this movie, but it remains of interest to you.)

Recommended: Yes

Movie Mood: Serious Movie
Viewing Method: Other
Film Completeness: Looked complete to me.
Worst Part of this Film: Nothing