Guy de Fraumeni’s Hollywood 1n The Hamptons

Way down here in the Carolinas, the sun shines bright on the spirit of movie making. North Carolina’s film incentives are at work. See Will Ferrell’s Talladega Nights and in Durham, the 11th Annual N.C. Gay and Lesbian Film Festival has grown and grown up greatly. Way out at Sundance, it’s grown enormously, but maybe swollen is more apt. Its inflation is blurring the line between Independent and Hollywood films fuzzier than the Mason-Dixon. Two movies out of Sundance, touted as smart Indies (meaning: as opposed to dumb Hollywood) are very popular – indicating right there that something’s awry.
I’ll get Little Miss Sunshine out of the way tout de suite, as it is such obvious Hollywood fluff (to put it mildly). However, The Illusionist is plenty smart, perhaps too smart for its own good. It is a deliciously wrought, elaborate Hollywoody romance/thriller which may have less there than meets the eye, though – we are messing with illusion here. So, does it have fancy enough footwork to trip into art houses as cinema? Now you see it, now you don’t.
What The Illusionist has up its sleeve are Edward Norton and Paul Giamatti and, they are aces. Edward Norton is Eisenheim, a masterful magician who arrives in Vienna at the turn of the Century’s peak of entrancing art and discovery. Rising as if from a supernatural folk fable, the young Eisenheim (Aaron Johnson) meets an old man, could–be sorcerer. His magical feats of wonderment set the young man’s future. He will be a magician. Enter, stage right, as if by divine ordinance, the beautiful Sophie von Teschen, the noble daughter of parents disapproving of Eisenheim. Never mind, the two youths carry on until discovered. Then! The poor things are wrenched from one another’s arms. Sophie had beseeched young Eisenheim to make themselves disappear. He fails her.
Calendar pages do not fly off into the air, but we find years have passed when Eisenheim comes to Vienna, portrayed now by Mr. Norton, and perfect he is with steely, know–all eyes and wonderfully fantastic displays of magic.
Lovely Jessica Biel is now Sophie, without attempting an accent; however, a Duchess from her toes right up to her pulsating, modest bosom. She is engaged to Crown Prince Leopold, played with more than enough imperious ruthlessness to assure him the Emperor’s throne or, an Oscar. They attend Eisenheim’s show. There, Sophie volunteers as his theatrical assistant. On stage Eisenheim recognizes the locket he gave to Sophie ages ago. However, he didn’t need the clue – the old magic is still there and their souls catch fire again and the Prince is really burned up. The Prince had planted his personally appointed Chief of Police, Inspector Uhl, in the audience to check out the threatening popularity and truculence of the “Great” Eisenheim who has “taken” Vienna, his Vienna. Now, he is taking Sophie! Here, dear drama lovers, is where the movie really ignites. Chief Inspector Uhl is well played (and rare as well) by Paul Giamatti in a very different role as the tenacious detective who won’t give up – not even a well-picked bone. The chemical reaction of Norton and Giamatti reconfirms their well-educated chops as fine, fine actors. Also different than usual, Norton gives a bravura performance as opposed to his well known almost unnoticed subtlety.
Do you have a firm grip on your Dan’s Paper? Sophie is murdered! The murder mystery floats like a magician’s sheet-draped female assistant rising up and up. But are things on the up and up? The Prince has been calling for Eisenheim’s arrest, expulsion – whatever. Eisenheim uses his powers to attempt political insurrection against the Crown. What will the Inspector discover? Are Eisenheim’s tricks just that? Does Eisenheim have power? Will his cult following upset the Monarchy? Was the Prince involved in Sophie’s demise? And, what of the Chief Inspector? Will he protect the Crown? Will he catch Eisenheim tucking a rabbit into his hat? This splendidly teasing movie poses more questions than it will explain at the film’s slyly contrived conclusion. I cannot say much more for fear that I give away one of the surprise endings you patrons pay good money to experience, and this bit of film-flam includes you, the audience.
The Illusionist was written and directed by Neil Burger from a short story by Steven Millhauser. Mr. Burger is the true sleight-of-hand magician. He has concealed any important political or religious meanings that might have given the film some weight behind a mesmerizing veil of caramel-golden puffery that makes this period piece glow with gravitas so dense you don’t notice it’s a parlor trick.
Guy-Jean de Fraumeni is the producer/writer/director of award-winning European and American feature films. He has been a judge at major film and TV award competitions, including the Oscars, the Emmys and various film festivals. Sarah Halsey assists him.