There's something seriously seductive about the supernatural. Have you ever stood at the edge of Reality and been enchanted by the world which beckoned below? It's dangerous and intoxicating; enigmatic to the point of terrifying. Just a glance - and you're infatuated. You tumble into its mystical depths.
If you haven't ventured beyond actuality before, perhaps it's time you take the plunge. Neil Burger's new film The Illusionist invites viewers to suspend reality and embrace magic. But beware, as the protagonist forewarns: “Everything you see here is an illusion.”
The film's opening sequence establishes a dreamy, ethereal atmosphere; butterflies and shadows flitter across the screen, accompanied by dark, ominous music - the songs of spirits, sorcery and suspense. I'm immediately seduced, although it must be divulged that I've been involved in a steamy affair with the supernatural for years. I pore over the horoscope section, reflect upon the counsel of a clairvoyant as if she were a holy priestess, and the sight of a black cat sends me running in the opposite direction.
Nevertheless, this film's aesthetic beauty even bewitches the skeptic. Set in early 20th century Vienna, The Illusionist exhibits an exquisitely precise attention to detail, evoking a charming old-world atmosphere. The monarchy has not yet fallen from power and Vienna exists under the fearful reign of Crown Prince Leopold, heir to the throne of the Austro-Hungarian Empire. The medieval walls which enclosed Vienna from 1200 until 1860 continue to haunt the city as the characters appear imprisoned by strict social decorum, and the monarchy's overt authority.
This enforced moral order and resolute allegiance to the Empire is broken, however, by the entrance of Eisenheim, The Illusionist. Eisenheim, portrayed by Edward Norton, is a gifted magician and performs inexplicable acts of wonder before his Viennese audiences. Edward Norton masters the role, and even sports a goatee for the film, exuding a dark edginess that epitomizes early 20th century sorcerer. Eisenheim's magic is visually spectacular. He commands the seed of an orange tree to rapidly sprout to fruition; then proceeds to summon a cloud of butterflies to deliver him his handkerchief. His audience is mesmerized.
Essentially, The Illusionist encapsulates man's paradoxical relationship with supernatural forces. Vienna is entranced by the glamor of Eisenheim's exhibitions, and anarchy unfolds as their avid desire for magic intensifies. The Prince Leopold is enraged by Eisenheim's escalating status and, accompanied by the Chief-of-Police, embarks on a quest to destroy him.
Is this not society's typical reaction to magic? Throughout history, man has shared a strange relationship with the paranormal; it has been regarded with awe, terror and infatuation. Magic may traced back to the royal courts of Ancient Egypt 5000 years ago when Dedi, a magician, cut off the heads of a goose, a pelican and an ox - and then miraculously restored them to the astonishment of the pharaoh King Cheops.
During the Middle Ages, everyone believed in magic. Its mysterious, inexplicable nature created such intense hysteria that thousands were hung, or burned alive, under accusations they had been practicing witchcraft.
Magic casts a powerful influence on the characters in The Illusionist. Leopold's obsessive ambition to destroy the local magician is intensified when he discovers Eisenheim has seduced his beautiful fiancée, the Duchess Sophie, portrayed by Jessica Biel. Biel's performance is surprisingly elegant. Unfortunately, the chemistry between her and Norton isn't exactly sizzling. Their sex scene is more poetic than steamy; a montage of sliding images of glistening, golden flesh.
Sophie and Eisenheim's love affair ends abruptly, however, when Sophie is murdered following a violent argument with the drunken Prince. Eisenheim temporarily retreats in sorrow, before reemerging with new, spectacular exhibitions. The border between reality and illusion ceases as Vienna hails Eisenheim as a gifted sorcerer, possessed with powerful secrets from other worlds. His new acts are violent and confrontational, mirroring Viennese society's lust for freedom from their vigilant monarchy. Their fascination with the afterlife is fueled by Eisenheim's conjuring spirits from the dead. These apparitions mesmerize - rather than terrify - the audience, who seem anxious for the reassurance that justice will be delivered in death, alluding to the nature of the Empire, which did not revere justice, nor equality.
The city's restlessness under Leopold's reign escalates to climax when Eisenheim dares to resurrect Sophie. She reveals her murderer walks free, provoking rumor that the Prince's hands are stained with her blood.
Leopold retaliates by ordering Eisenheim be arrested and imprisoned. The illusionist is not easily caught, however, and vanishes in a cloud of smoke.
I won't spoil the ending, but be prepared because nothing is as it seems. The film is stylishly crafted, and its illusions are difficult to capture in the act. You may think you know where you're destined, but chances are you've already been misled. It's easy to become lost in the supernatural's strange, hazy depths.
