Are You Watching Closely?
(Grandiose director Christopher Nolan and the
equally impressive Bale preparing for a take)
The Prestige (12A)
reviewed by David Mahmoudieh at the
UK premier, Leicester Sq, London
Batman, Wolverine, King Kong, Ziggy Stardust, Alfred the Butler – sounds like a cross-worldly union you could only acquire in a bumper edition of Celebrity Death-Match. But the aforementioned ensemble munificently leave their alter-ego’s behind as an all-star cast go head-to-head in the latest offering from the hugely talented Christopher Nolan (Memento, Insomnia, Batman Begins).
Christian Bale (American Pyscho, Batman Begins) and Hugh Jackman (X-Men Trilogy, Van Helsing) convey the tragic grudge of Alfred Borden and Robert Angier, two feuding magicians who lock horns against a misty, murky turn-of-the-century London. Whereas the latter excels in the charm and romanticism of his act, the former is a more elaborate craftsment, devoting his every moment to attaining the perfect illusion. Yet regardless of their conflicting styles, both men can barely suppress the truth of a shared longing for the awe of not only their audience, but ultimately each other.
In many ways the story reveals itself not too dissimilarly to how an illusionist might present their act. And according to Nolan, all magic tricks take on three stages: “The Pledge” – something is presented; closely followed by “The Turn” – the object disappears; and finally “The Prestige” – in which the object reappears miraculously before our eyes.
Demonstrating his subtle cinematic sleight-of-hand and staying true to his earlier works, The Prestige unfolds through Nolan’s archetypal blue-print of running three parallel timelines, each inter-cutting between cause, effect and the symmedian bridge of the present that links all three together. Though a tad confusing to those unfamiliar with Nolan's previous designs, the intervallic re-arrangement of time's chain offers interesting equivalences to the magicians' pursuit of the ultimate illusionary pay-off.
Right from the beginning we’re given no time to breathe, thrown in at the deep end (both physically and metaphorically), with Jackman’s Angier drowning in a water tank following a trick gone horribly wrong.
As events non-chronologically progress, we learn these two warring servants of magic were once friends and aspiring apprentices, both beguiled under the tutelage of grand old showman Cutter (masterly played by Michael Caine) who through one time-line is observed mentoring the pair in his prevailing but unorthodox ways of illusionism.
However, when Angier’s wife and Cutter’s assistant, Julia (Piper Perabo), is killed in a freak on-stage accident, Angier forever blames Borden for his costly blunder in the tragedy. The one-time friendly antagonism soon blooms into bitter, vengeful hatred and the pair begin a callous game of chess-like trickery and deception against one another.
At first the battle seems well-balanced. That is until Borden designs and performs the “Transporting Man” trick, an illusion which appears to cross the lines of impossibility. Angier, smothered in spite, desperately attempts to figure out the mechanics of Borden’s show-stopper – but to no reward.
Always demanding his audience pay close attention, Nolan then introduces the third linear line we are to travel, as Angier journeys afar to consult the expertise of an almost unrecognizable David Bowie (those alter-ego’s staring to make sense now…?) in the form of Nikola Tesla, a zany designer of the machine intrinsic to Borden’s trick, Tesla's trusty assistant Alley (Andy Serkis) in tow.
It is here within the parenthesis passage of the film that we comprehend the deepest reach of each man’s envy; particularly Angier’s, whose rile at his own failure to beat his fellow magician seemingly surpasses his sorrow for the death of his wife.
Scarlet Johansson subsequently throws in her two-shilling’s worth, playing Angier’s vivacious assistant, Olive, a comparatively negligible role – though her character’s scampering between the two rivals functions mainly as a story stratagem, enhancing conflict between the pair – but more fundamentally providing an emotional insight into the adulterous Borden’s World.
Rebecca Hall also deserves a mention as Borden’s unsuspecting wife, Sarah, and does convincingly well with a small but again very figurative part.
(Under no illusion: Scarlet Johansson)
Nestled amongst all this cleverness, there does at times seem to be an abhorent absence of an emotional hook to swing us one way or another. There are times when the characters present themselves so abominably in their fixations that you wouldn’t really care if neither of them succeeded. But even when the insolence of the protagonists make neither of them root-able, Nolan’s habitual DP, the inimitable Wally Pfister (ASC), provides some truly stunning, eye-grabbing cinematography.
(Nolan on set directing Jackman in one of the
film's most visually memorable scenes)
All in all, Nolan and co-writer/brother Jonathon (Memento) have done a commendable job adapting Christopher Priest's spellbinding novel, and despite some major plot changes have crafted another multi-layered narrative. Who knows, maybe they even drew on that hidden rivalry which might plague two brothers so innately wrapped up in each other’s projects and maneuverings, willfully injecting some of their own experience into the alchemy of a man’s competitive agendas for self-evaluation and perfection.
On the directorial duties, Nolan conjures all his narrative talent to keep a temporal forward momentum and for a film that doesn’t always unravel chronologically, does have an admirable flow and ironically reckless fluidity.
The gravity of style and industriousness more than make-over for the films few and small imperfections, such as the ending which – if you’ve followed all of Nolan’s clues – not only feels surprisingly predictable, but requires one huge leap of faith.
But isn’t that just magic in its most prestigious form? As Caine’s poker-faced Cutter puts it so persuasively, “It's not a trick… it's real.”
© David Mahmoudieh 2006
(Grandiose director Christopher Nolan and the
equally impressive Bale preparing for a take)
The Prestige (12A)
reviewed by David Mahmoudieh at the
UK premier, Leicester Sq, London
Batman, Wolverine, King Kong, Ziggy Stardust, Alfred the Butler – sounds like a cross-worldly union you could only acquire in a bumper edition of Celebrity Death-Match. But the aforementioned ensemble munificently leave their alter-ego’s behind as an all-star cast go head-to-head in the latest offering from the hugely talented Christopher Nolan (Memento, Insomnia, Batman Begins).
Christian Bale (American Pyscho, Batman Begins) and Hugh Jackman (X-Men Trilogy, Van Helsing) convey the tragic grudge of Alfred Borden and Robert Angier, two feuding magicians who lock horns against a misty, murky turn-of-the-century London. Whereas the latter excels in the charm and romanticism of his act, the former is a more elaborate craftsment, devoting his every moment to attaining the perfect illusion. Yet regardless of their conflicting styles, both men can barely suppress the truth of a shared longing for the awe of not only their audience, but ultimately each other.
In many ways the story reveals itself not too dissimilarly to how an illusionist might present their act. And according to Nolan, all magic tricks take on three stages: “The Pledge” – something is presented; closely followed by “The Turn” – the object disappears; and finally “The Prestige” – in which the object reappears miraculously before our eyes.
Demonstrating his subtle cinematic sleight-of-hand and staying true to his earlier works, The Prestige unfolds through Nolan’s archetypal blue-print of running three parallel timelines, each inter-cutting between cause, effect and the symmedian bridge of the present that links all three together. Though a tad confusing to those unfamiliar with Nolan's previous designs, the intervallic re-arrangement of time's chain offers interesting equivalences to the magicians' pursuit of the ultimate illusionary pay-off.
Right from the beginning we’re given no time to breathe, thrown in at the deep end (both physically and metaphorically), with Jackman’s Angier drowning in a water tank following a trick gone horribly wrong.
As events non-chronologically progress, we learn these two warring servants of magic were once friends and aspiring apprentices, both beguiled under the tutelage of grand old showman Cutter (masterly played by Michael Caine) who through one time-line is observed mentoring the pair in his prevailing but unorthodox ways of illusionism.
However, when Angier’s wife and Cutter’s assistant, Julia (Piper Perabo), is killed in a freak on-stage accident, Angier forever blames Borden for his costly blunder in the tragedy. The one-time friendly antagonism soon blooms into bitter, vengeful hatred and the pair begin a callous game of chess-like trickery and deception against one another.
At first the battle seems well-balanced. That is until Borden designs and performs the “Transporting Man” trick, an illusion which appears to cross the lines of impossibility. Angier, smothered in spite, desperately attempts to figure out the mechanics of Borden’s show-stopper – but to no reward.
Always demanding his audience pay close attention, Nolan then introduces the third linear line we are to travel, as Angier journeys afar to consult the expertise of an almost unrecognizable David Bowie (those alter-ego’s staring to make sense now…?) in the form of Nikola Tesla, a zany designer of the machine intrinsic to Borden’s trick, Tesla's trusty assistant Alley (Andy Serkis) in tow.
It is here within the parenthesis passage of the film that we comprehend the deepest reach of each man’s envy; particularly Angier’s, whose rile at his own failure to beat his fellow magician seemingly surpasses his sorrow for the death of his wife.
Scarlet Johansson subsequently throws in her two-shilling’s worth, playing Angier’s vivacious assistant, Olive, a comparatively negligible role – though her character’s scampering between the two rivals functions mainly as a story stratagem, enhancing conflict between the pair – but more fundamentally providing an emotional insight into the adulterous Borden’s World.
Rebecca Hall also deserves a mention as Borden’s unsuspecting wife, Sarah, and does convincingly well with a small but again very figurative part.
(Under no illusion: Scarlet Johansson)
Nestled amongst all this cleverness, there does at times seem to be an abhorent absence of an emotional hook to swing us one way or another. There are times when the characters present themselves so abominably in their fixations that you wouldn’t really care if neither of them succeeded. But even when the insolence of the protagonists make neither of them root-able, Nolan’s habitual DP, the inimitable Wally Pfister (ASC), provides some truly stunning, eye-grabbing cinematography.
(Nolan on set directing Jackman in one of the
film's most visually memorable scenes)
All in all, Nolan and co-writer/brother Jonathon (Memento) have done a commendable job adapting Christopher Priest's spellbinding novel, and despite some major plot changes have crafted another multi-layered narrative. Who knows, maybe they even drew on that hidden rivalry which might plague two brothers so innately wrapped up in each other’s projects and maneuverings, willfully injecting some of their own experience into the alchemy of a man’s competitive agendas for self-evaluation and perfection.
On the directorial duties, Nolan conjures all his narrative talent to keep a temporal forward momentum and for a film that doesn’t always unravel chronologically, does have an admirable flow and ironically reckless fluidity.
The gravity of style and industriousness more than make-over for the films few and small imperfections, such as the ending which – if you’ve followed all of Nolan’s clues – not only feels surprisingly predictable, but requires one huge leap of faith.
But isn’t that just magic in its most prestigious form? As Caine’s poker-faced Cutter puts it so persuasively, “It's not a trick… it's real.”
© David Mahmoudieh 2006
posted by David Mahmoudieh at 5:41 AM
0 Comments:
Post a Comment
<< Home