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Friday, January 14, 2011

MOVIE REVIEW
The Illusionist
Magical Majesty Comedy: Mastering Tati, And Trés Bien


A scene from Sylvain Chomet's "The Illusionist". 
Sony Pictures Classics

by Omar P.L. Moore/PopcornReel.com        Follow popcornreel on Twitter FOLLOW
Friday, January 14, 2011

A spectacular rebuke of 3D is found in the masterpiece "The Illusionist", the best animated feature film of 2010.  Sylvain Chomet ("The Triplets Of Belleville"), writes, edits, composes, animates and directs his best film yet, utilizing France's directing legend Jacques Tati's original screenplay, which hadn't been made into a film until now.  The forerunning script was a valentine from Tati to his daughter Sophie.  Mr. Chomet picks up the baton and lets fly with "The Illusionist".

A worn-out, aging, increasingly irrelevant magician, Monsieur Hulot-like in appearance (no accident there), Tatischeff (the famed director's full surname) travels in search of work.  Landing in Edinburgh, Scotland, he meets a lonely young girl, Alice, whom he develops an avuncular affection for.  The affection is mutual.  The illusionist speaks not a word while the proceedings around him are funnier than his jaded, aloof demeanor.  He entrances Alice, who's caught in a wonderland of fascination.  One scene involves Alice looking into a storefront window in a beautiful tribute to "Alice In Wonderland".  Throughout "The Illusionist" the measure of Mr. Chomet's calculations are sincere and heartfelt, his imagery singular and precise.

A comedic ballet of silence and satire like the rest of Tati's films, "The Illusionist" sparkles in a unique way as an animated film.  The 2D hand-drawn animation is a welcome sight, and the film has a dank, dreary look and feel.  Less melodic and vibrant than "Triplets Of Belleville" but no less funny, "The Illusionist" is more lifelike than the hyperactive "Triplets", and feels infinitely more real and authentic.  Mr. Chomet's animation is pure, dour beauty.

While melancholy frays the edges of this tender film, many lighthearted episodes define this gem, including a sweet tribute to Mr. Tati himself and his great film "Mon Oncle".  Mr. Chomet knows cinematic product placement well, and it's one of the best, most loving homages I've seen.  The 1958 classic was bursting with color and life, but "The Illusionist" has as much passion and possibility in its sequences large and small as the bright, vibrant "Mon Oncle" did.

Words (at least the English words American audiences can understand in the film) are hardly relevant here, yet they're the most amusing aspect of "The Illusionist".  The mumbles, stumbles, French words and occasional off-handed English vocal intrusions add to the comedy.  "The Illusionist" is about belonging and togetherness.  Tatischieff has to find his way in an increasingly changing landscape that has chewed him up and spit him out one time too many, while Alice wants so badly to be like the flamboyant and debonair people she runs into.  The film's tenor is overwhelmingly adult, but often its ideas and ideals are as sunny and innocent as a child's imagination.

The animation by Mr. Chomet is detailed, impeccably crafted.  We feel as if we are in 1930s France instead of its 1950s setting.  "The Illusionist" has such a distinct aesthetic and staidness that you can almost smell the atmosphere of its French streets.  The film has a dignity and elegance that it wears well.  Never maudlin or muted, always alive with hope and wonder, "The Illusionist" binds you in a spell of laughter, love and enjoyment from start to finish.  It's an amazing treasure.
 
"The Illusionist" is rated PG by the Motion Picture Association Of America for thematic elements and smoking.  The film's running time is one hour and 20 minutes.

Read this review at the S.F. Indie Movie Examiner page: here


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