Sunday Similar Subjects

Welcome to a new weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

The Illusionist / The Prestige

Release dates: August 18, 2006 / October 20, 2006

The similarities: Both films featured high-profile actors starring as magicians in non-American countries in the past. The central point of each film involved the performance of a trick that defied explanation.

The differences: The former film was from director Neil Burger, who had only one feature film to his credit, while the latter was Christopher Nolan’s follow-up to “Batman Begins.” The former film, set in Vienna, featured just one magician (Edward Norton) lusting after a noble woman (Jessica Biel) and being pursued by both an agent of the law (Paul Giamatti) and a regal figure (Rufus Sewell). The latter starred Hugh Jackman and Christian Bale as rival magicians bitterly determined to outwit the other.

The releases: “The Illusionist” was released in limited theatres two months ahead of “The Prestige,” and so their similar debut dates weren’t destructively close together. The former film made less than the latter, though its budget was nearly a third of that of “The Prestige.” Both received technical Oscar nominations for Best Cinematography, and the latter was also nominated for Best Art Direction. Neither took home any awards.

Which one is more likely to be remembered? This reviewer didn’t particularly like other one, but the answer to public recollection is obvious. If only because of its director’s subsequent fame, “The Prestige” is the only one of these films that a casual moviegoer will remember. It’s also Christopher Nolan’s non-Batman collaboration with Christian Bale, which makes it even more noteworthy. The subsequent release of an Oscar-nominated French animated film called “The Illusionist” only made people vaguely recall a film by the same name, but likely nothing else about it.

Movie with Abe: The Illusionist

The Illusionist
Directed by Sylvain Chomet
Released December 25, 2010

Animation offers a world of infinite possibilities since its characters and storyboards can take on any form and do anything. Characters need not be limited by what reality dictates, and hand-drawn images can often convey just as much as a three-dimensional capture of real-life. Animation can also be helpful in highlighting the simplicity of a particular thing, whether it’s a person or a lifestyle. Sylvain Chomet’s new film “The Illusionist” is a creative and clever animated film that tells the story of a magician whose road act continually takes him to new places.

“The Illusionist” treats its audience as sophisticated and old-fashioned because, after all, that’s how its main character functions. The illusionist practices a nostalgic trade, always dressing nicely and presenting his show in a dignified and elegant fashion. Early on, he finds his set continually delayed by young rock stars that drive the audience wild with their loud, aggressive music. The illusionist’s show is a return to simpler, quieter times for a man who’s never left them. The film follows his example, exploring the man’s life without much pizzazz or efforts to make him seem more enthusiastic.

That route is a gamble on the part of the film, offering up precious few lines of dialogue throughout its short eighty-minute run time. What little is said is mostly unintelligible and often in foreign languages, minus the use of subtitles or even the clear comprehension of the listener in the film. The absence of spoken words encourages the use of creative manners of expression such as body language, underlining the message that there are ways of communicating that don’t require excessive volume. The illusionist goes from town to town making his small impact on people, and once he is gone, his presence is likely forgotten. While he might prefer a more appreciative stable audience, he likely wouldn’t have it any other way. He is a simple man who seeks to mesmerize and entertain, if only for a moment.

As might be expected from a quiet, somber tale like this, the film is occasionally slow. Its subtlest minutes often feel like hours, and, like the oft-ignored illusionist himself, the film doesn’t outright demand the attention of its audience. Some will find the slower segments compelling and meaningful, while others may become easily distracted and find getting through the film to be a burden. For this viewer, it was an even mix of the two sentiments. At times, the film is meaningful and memorable, and, at others, overly pensive. Reminiscent of fellow Best Animated Feature Oscar contender “My Dog Tulip,” it works best when it shows the illusionist’s heartwarming and heartbreaking interactions with the girl to whom he gives kindness and the opportunity to see the world. Even if it’s not entirely engaging, “The Illusionist” is a thoughtful, contemplative, endearing story about one unconventional type of traveling salesman.

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