Daily Archives: May 25, 2019

Cinema as a Social Act [THE ILLUSIONIST]

From the Chicago Reader (August 18, 2006). Fox has reissued this film in a  two-disc edition, combining a Blu-Ray with a DVD of the film on a second disk — the latter including an audio commentary by writer-director Neil Burger which clarifies and amplifies how well he understands the mechanics as well as the overall concept of his own film. He’s especially enlightening on the subject of late 19th century magic and how he incorporated many of his findings in the film, utilizing the expertise of several contemporary magicians, including Ricky Jay.       – J.R.

The Illusionist

**** (Masterpiece)

Directed and written by Neil Burger

With Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell, Eddie Marsan, and Jake Wood

Stories, like conjuring tricks, are invented because history is inadequate to our dreams. — Steven Millhauser, “Eisenheim the Illusionist”

At first glance Neil Burger’s first two features couldn’t be further apart. Interview With the Assassin (2002) is a scruffy-looking pseudodocumentary and thriller about two marginal characters — a young, out-of-work cameraman (Dylan Haggerty) and his 60-ish solitary neighbor (Raymond J. Barry), an ex-marine who claims to have fired the second bullet that killed John F. Kennedy. The Illusionist, based on a story by Steven Millhauser, is a lush piece of romanticism — a tale of enchantment set in turn-of-the-century Vienna about a magician named Eisenheim (Edward Norton), the son of a cabinetmaker, and his longtime relationship with Sophie (Jessica Biel), a duchess and the prospective fiancee of Crown Prince Leopold (Rufus Sewell), an old-fashioned villain.… Read more »

Paris Hollywood: Writings on Film

From Cineaste, Fall 2003. — J.R.

Paris Hollywood: Writings on Film

by Peter Wollen. London and New York: Verso, 2002. 314pp. Hardcover: $60.00 and Paperback: $20.00.

One of the more interesting paradoxes of Peter Wollen’s writing career is that he was perceived as an academic well before he had a long-term teaching post whereas today, with a seemingly permanent berth in the critical studies program at UCLA’s film department, he’s more apt to come across as a journalist. Part of this has to do with the magazines he writes for, though it might be added that for better and for worse — and more for the better — there’s always been a breezy, nonpedantic side to his writing that makes it far more accessible and user-friendly than the work of many of his more theoretically-minded colleagues. Paris Hollywood, his latest collection, is an agreeable showcase for this quality — more so, in many ways, than Readings and Writings (1982) and Raiding the Icebox (1993).

There are, to be sure, some scholarly limitations to Wollen’s lightness of tone, at least when he falls too readily into certain easy generalizations. It may sound reasonable to write of Godard’s early work (in “JLG,” one of the better essays here), “He never once worked with a script-writer,” but only if one glides past the roles of Truffaut on Breathless and Rossellini and Jean Gruault on Les Carabiniers.… Read more »