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Rating: Set in Austria at the beginning of the 1900s, Edward Norton is a talented illusionist (esotericist?) who becomes famous for his sensational acts. During a performance, he encounters his youthful love, Jessica Biel, an aristocratic girl who has become heir to the throne by virtue of her engagement to an obnoxious and domineering heir. Upon learning of the relationship, the prince orders police inspector Paul Giamatti to get rid of the sideshow attraction.
The concept is potentially very interesting. Vienna, magic, a few good actors, the relationship between the rationality of power and the revolutionary unpredictability of magic. It could have turned out to be a really good movie. Too bad about the execution.
The script has some rather bland mechanisms, and it finds no support, neither in great performances nor in particularly interesting dialogues. The direction isn't bad, but one cannot help but attribute to the director a general lack of tension; some key scenes are executed in a truly anonymous manner. First and foremost is the scene where Edward Norton meets his old flame after many years, shot so poorly that in a subsequent scene Norton asks, 'Did you recognize me right away?' And she, as if he had asked her what time it was: 'Yes, I recognized you right away.' Thank goodness they told us! Otherwise, they seemed like two complete strangers! And the romantic story doesn't warm up at all as the film continues.
In the second part of the film, this emotional deficiency becomes really burdensome. Events begin to occur somewhat randomly. It's unclear why the prince (an actor with Olympic-level expressionlessness) still harbors animosity against the magician, despite his omnipotence. The magician wants to overthrow the monarchy!! But if the prince commands everyone and everything! Come on! And then the magician Edward Norton, also in the second part, seems caught up in an unconscious trance that leads him to create illusions he doesn't control. He doesn't seem like a protagonist but merely a conduit for the story.
The finale should feature some plot twists; but the damage is done, and they seem like mere devices to wrap up the story somehow. The police inspector, who had always been a docile puppy on the prince's leash, suddenly becomes critical. In the final sequences, they want to insert the usual mishmash of reality and fantasy that blend, suggesting alternative interpretations of the story. A blatant attempt to climb up slippery walls.
The film is really appreciated only for the beautiful magic scenes, where both the direction and Edward Norton do an excellent job. I almost think the technical staff was different for these sequences. In general, the cinematography and the reconstruction of ancient Vienna are good (though nothing 'colossal'). The two main actors, Norton and Giamatti, do what they can within the limits of the dialogues and the director's potential. Actors are always 'instruments' that require skilled musicians.
Overall, just an entertainment movie and a great missed opportunity.
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