Film session of magic without exposurethe Atypical American film “ the Illusionist “ (The Illusionist), stylised under a fairy tale of brothers the Grimm with detective elements, can deduce from itself rationally conceiving spectator, aspiring to understand everything that to it show. And the person concordant that it skilfully fooled, on the contrary, will please with impudent mockery at common sense - as, for example, LYDIA - to MASLOV.
a love story in “ the Illusionist “ is based on classical fantastic misalliance: in a prologue the son of the cabinetmaker building secretaries in the ducal lock, sticks together a daughter of the duke and as proof of eternal friendship makes to it a wooden medallion with a secret and the photo inside. Passes 15 years. The boy grows in absolutely unscrupulous conjurer (Edward Norton) who are forcing trained butterflies to drag in pads cambric nasal kerchiefs and not caring absolutely not about at least approximate credibility of the tricks. Everything that it makes before the amazed public, - golimaja volandovshchina, a session of black magic, truth, without the subsequent exposure, beginning from a fling in a hall of gloves which with croak scatter black carrion crows, continuing a contactless reconstruction on a canvas of a portrait of emperor Frantsa - Joseph who is written by itself on the autopilot, and finishing game in Ekskalibur, a sword of king Arthur which vertically sticks an edge to a parquet, and nobody can raise it on millimetre while the illusionist will not take pity. The sword inlaid red and green kamenjami to which should serve as the basic proofs at investigation of becoming ripe murder, belongs Austrian kronprintsu to Leopold (Rufus Sjuell), the man with the person of the dastardly coward on whom hardly that all suspicions fall. Before personally to start to be measured by charisma with the conjurer who and pulls to expose, the prince transfers on a scene a feeler in the name of the bride (Dzhessika Bel) - whether it is necessary to say that it and is that duchess from a prologue which for conspiracy pretends to be not learning the loved illusionist. That demonstrates to it in a mirror that means to die - by means of its two clones one of which cuts to pieces a sword of another. After that the dumbfounded duchess the next night rides to the magician top, without ranks, and from a threshold gives the chance to be convinced that treasured medalonchik never left it lilejnoj necks.
the police inspector (Pol Dzhamatti) who rubs near the prince in hope observes Of development of the renewed novel with affliction tolstenky to become the police chief, and even the mayor of Vienna. Itself being the son of the butcher, the inspector warns the illusionist about the class precipice dividing them with aristocracy: “ We cannot be close with them - there is no such focus which they yet did not see “. The inspector in a root is mistaken: such focuses at the header hero full sleeves. Soon a corpse of the duchess with the changed person catch from a pond then its lover, pogorevav put time, lifts the art on any absolutely already kaliostrovskuju height and, passing an intermediate stage of revival of park sculptures, starts to create on a scene of the hologramme of the died people capable easy to communicate with the family. It and the girlfriend, to which at public reconstructs one question: “ Who has killed you? “ However, the answer the public does not wait, and without that being is assured that this handwork kronprintsa, for a long time the sadist who has earned reputation, pokolachivajushchego the ladies. Despaired otmazatsja and completely zatjukannyj the prince says a historical phrase, the cleverest in a film: “ the Situation is extremely clear: I am am surrounded entirely with idiots “. Before at it to laugh, it is necessary to reflect that idiots swarm not only on the screen and all you just seen - one carefully thought over trick.
the hint on its solution is concealed in a prologue, when the young duchess, which is searched by relatives by force to drag from the friend - the commoner, asks the future wizard: “ Make so that we have disappeared “. How it satisfies this request, in general - that and tells “ the Illusionist “ to which critics could show unique reproach: The technics of the director of Nile of the Burger is, of course, masterly, but by and large the film is not meaningful, as performance of the illusionist enjoying that spectators feel swindled. On me so on the contrary, the picture just quite ordinary is made, but contains one thought: the main art which it is necessary to perfect all life, at all ability to distinguish illusion from a reality and to find a rational explanation to any supernatural focus, and ability in the fullness of time completely to disappear.