Vienne à l'aube du vingtième siècle, un magicien utilise ses capacités pour assurer l'amour d'une femme bien au-dessus de son statut social.Vienne à l'aube du vingtième siècle, un magicien utilise ses capacités pour assurer l'amour d'une femme bien au-dessus de son statut social.Vienne à l'aube du vingtième siècle, un magicien utilise ses capacités pour assurer l'amour d'une femme bien au-dessus de son statut social.
- Nommé pour 1 oscar
- 11 victoires et 12 nominations au total
- Josef Fischer
- (as Edward Marsan)
- Young Eisenheim
- (as Aaron Johnson)
Histoire
Le saviez-vous
- AnecdotesSo that the crew would not have to use CGI to "fake" the magical illusions seen, Norton received intensive training in sleight of hand and other stage magic techniques from British magician James Freedman and American magician Ricky Jay.
- GaffesNear the end, Chief Inspector Uhl is in Prince Leopold's office. When the two argue, the boom mic is visible, going from one character to the other, in the reflection on the brass table lamp.
- Citations
Eisenheim: From the moment we enter this life we are in the flow of it. We measure it and we mark it, but we cannot defy it. We cannot even speed it up or slow it down. Or can we? Have we not each experienced the sensation that a beautiful moment seemed to pass to quickly, and wished that we could make it linger? Or felt time slow on a dull day, and wished that we could speed things up a bit?
How splendid, a period romantic mystery that's filled with the mysticism of magical conjurings and political volatility. Plot essentially has Norton as Eisenheim The Illusionist, who later in life runs into Sophie (Biel), his childhood sweetheart, and finds that she's on course to marry Crown Prince Leopold (Sewell). Leopold has a bad reputation and it's not long before Eisenheim comes under Leopold's disdain, forcing Eisenheim to try and pull off the ultimate magic act to save Sophie and himself.
Creator Neil Burger crafts a picture that has everything going for it. The story is rock solid with intrigue credentials, where appropriately for a story based around magic tricks nothing is ever as it seems. The period flavours are smartly assembled, the Czech Republic locations smartly standing in for turn of the century Vienna, the art production is on point with the era of setting, as is the costuming. Glass drifts a tender melancholic score over the piece, while Pope's cinematography is simply gorgeous, offering up colour lensing that's aura enhancing, the kind you could get lost in for days.
The magic tricks are beguiling, as they should be and are in fact required since the narrative tantalisingly suggests Eisenheim may have supernatural powers? The story itself has no historical worth, but is fascinating none the less. It all builds towards its revelations, and much hinges on if the pay off is worth the admission fee? Most assuredly so it is, even if from a personal point of view this writer wouldn't have minded if pic had finished five minutes before the final revelation.
Either way, and with smart acting (Giamatti as the police inspector standing out) without histrionics holding things at the top end, this is delicate film making that engages the emotions fully for entertainment rewards. 8/10
- hitchcockthelegend
- 1 févr. 2019
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- The Illusionist
- Lieux de tournage
- Konopiste Palace, Benesov, République tchèque(as the Crown Prince's castle)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 16 500 000 $ US (estimation)
- Brut – États-Unis et Canada
- 39 868 642 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 927 956 $ US
- 20 août 2006
- Brut – à l'échelle mondiale
- 87 892 388 $ US
- Durée1 heure 50 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1