In 2006, two movies with very similar premises were released: The Prestige and The Illusionist. The Illusionist was not set up for greatness like The Prestige, earning only $927,956 upon opening in stark contrast to The Prestige's $14,801,808. But now, eight years later, the race is much closer when it comes to determining the winner in the battle of wits between man and magician.
For a brief summary, The Prestige is a brilliantly conceived, beautifully executed character study based on the novel by Christopher Priest. Hugh Jackman plays Robert Angier, a showy magician who becomes known as 'The Great Danton'. Christian Bale is his nemesis, Alfred Borden, the born magician who is totally dedicated to his craft. After an accident that deeply affects Angier, the two engage in a battle of wits and tricks- a dangerous game of one-upsmanship that ultimately devastates both. Bale and Jackman are well cast as the two leads. Jackman makes Angier charismatic, a natural showman, while Bale makes Borden a more reserved man who does magic because he loves it himself, not because he thinks other will love him for it. The supporting cast holds their own as well, featuring Michael Caine as the ingeneur behind some of the more complicated tricks, and Piper Perabo, Scarlett Johansson, and Rebecca Hall as the three women who become entangled and hurt in the dangerous web the two magicians weave together. And of course, there's my favorite cameo: David Bowie as Nikola Tesla. It's a bit part, nearly meaningless, but I can't say that Bowie is bad in his role. Here The Prestige wins out, because even though I adore Edward Norton and I'm not slighting him, Jessica Biel, or Paul Giamatti, individually or collectively, they can't hold a torch to the acting chops at play here.
The screenplay by Christopher and Jonathan Nolan is so rich in texture that it succeeds in being part murder mystery, part drama, part suspense, part fantasy, and part science fiction all at once. I doubt anything the two brothers collaborate on will ever touch Memento, but the Prestige gets pretty damn close. Similar to memento, the storytelling is presented in a fragmented, non-chronological order, forcing audiences to watch closely and tuck each detail away so that the finale can make them into something wholly unexpected.
For a brief summary, The Prestige is a brilliantly conceived, beautifully executed character study based on the novel by Christopher Priest. Hugh Jackman plays Robert Angier, a showy magician who becomes known as 'The Great Danton'. Christian Bale is his nemesis, Alfred Borden, the born magician who is totally dedicated to his craft. After an accident that deeply affects Angier, the two engage in a battle of wits and tricks- a dangerous game of one-upsmanship that ultimately devastates both. Bale and Jackman are well cast as the two leads. Jackman makes Angier charismatic, a natural showman, while Bale makes Borden a more reserved man who does magic because he loves it himself, not because he thinks other will love him for it. The supporting cast holds their own as well, featuring Michael Caine as the ingeneur behind some of the more complicated tricks, and Piper Perabo, Scarlett Johansson, and Rebecca Hall as the three women who become entangled and hurt in the dangerous web the two magicians weave together. And of course, there's my favorite cameo: David Bowie as Nikola Tesla. It's a bit part, nearly meaningless, but I can't say that Bowie is bad in his role. Here The Prestige wins out, because even though I adore Edward Norton and I'm not slighting him, Jessica Biel, or Paul Giamatti, individually or collectively, they can't hold a torch to the acting chops at play here.
The screenplay by Christopher and Jonathan Nolan is so rich in texture that it succeeds in being part murder mystery, part drama, part suspense, part fantasy, and part science fiction all at once. I doubt anything the two brothers collaborate on will ever touch Memento, but the Prestige gets pretty damn close. Similar to memento, the storytelling is presented in a fragmented, non-chronological order, forcing audiences to watch closely and tuck each detail away so that the finale can make them into something wholly unexpected.
Finally, the magical aura created by cinematographer Wally Pfister and production designer Nathan cannot go unnoticed. Everything in the movie seems to be bathed in a sort of eerie glow, which works well to convey the clouded and enigmatic nature of the plot.
The Illusionist is also a beautifully crafted motion picture adapted from the short story by Pulitzer Prize winner Steven Millhauser. Edward Norton portrays the mysterous Eisenheim, a master illusionist who has risen to become the greatest magician in the Austro-Hungarian Empire. At a young age, Eisenheim meets his true love, Sophie von Teschen, whose older self is played by the absolutely stunning Jessica Biel in one of her best performances to date. Eisenheim must compete for Sophie's affections against the tempestuous and hot-headed Crown Prince Leopold (Rufus Sewell), but despite a policeman (Paul Giamatti) named Uhl's warnings, their competition escalates, and only one can win. Where The Prestige is about obsession with a craft, The Illusionist is about obsession of a woman. Edward Norton is never one to disappoint, and his trademark intensity works in his favor here to create the enigma that surrounds his character. The real star of this film, however, is Paul Giamatti, who serves as the film's narrator. In the critical finale, Paul Giamatti's sense of wonder as he puts each piece of the puzzle together is nearly as good as the resolution itself.
The Illusionist is also a beautifully crafted motion picture adapted from the short story by Pulitzer Prize winner Steven Millhauser. Edward Norton portrays the mysterous Eisenheim, a master illusionist who has risen to become the greatest magician in the Austro-Hungarian Empire. At a young age, Eisenheim meets his true love, Sophie von Teschen, whose older self is played by the absolutely stunning Jessica Biel in one of her best performances to date. Eisenheim must compete for Sophie's affections against the tempestuous and hot-headed Crown Prince Leopold (Rufus Sewell), but despite a policeman (Paul Giamatti) named Uhl's warnings, their competition escalates, and only one can win. Where The Prestige is about obsession with a craft, The Illusionist is about obsession of a woman. Edward Norton is never one to disappoint, and his trademark intensity works in his favor here to create the enigma that surrounds his character. The real star of this film, however, is Paul Giamatti, who serves as the film's narrator. In the critical finale, Paul Giamatti's sense of wonder as he puts each piece of the puzzle together is nearly as good as the resolution itself.
When it comes to visuals, The Illusionist wins out over The Prestige. Cinematographer Dick Pope was nominated for an Academy Award for the film (and rightfully so), and the production design by Ondrej Nekvasil truly brings Vienna to life. The film makes great use of shadow, never showing the audience everything until it's just the right time to reveal all.
Although both films are very similar in many respects, they’re not the same, and ultimately The Prestige is the better film. The Illusionist gets too stuck in one genre, bogged down by the requirements of romance and not suspense, while The Prestige seamlessly blends mystery, drama, romance, and science fiction. It's a close call, and maybe in a few years Neil Burger will have surpassed Christopher Nolan (who my affection is waning towards), considering this was only his second film. Either way, both movies beg the question:
Are you watching closely?