The Prestige

Super

The Prestige plays as many, if not more tricks on you and the theater audience as the magicians play on audiences in the film itself. It literally incorporates the three acts of a magic trick (the pledge, the turn and the prestige), smoothly traversing them to a trio of movie acts. By the end , or even before the end of this period piece, you’ll see what I mean.

It’s turn -of-the- century London. Thomas Edison is practically a household name thanks to his electric light and magic is a more popular form of entertainment than it is today. Audiences applauded those who were genuinely talented in legerdemain and sharply reviled those whose secrets were apparent before or during a trick performance.

Two members of this elite trade, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) have been good friends since being youngsters. Later as adults their mutual interest in magic is encouraged by the sage Mr. Cutter (Michael Caine) and being assisstants to Milton, an elderly magician who also employs Angier’s wife Julia(Piper Perabo) . When a tragic accident occurs during a performance, Robert and Alfred become bitter rivals and enemies.

As the story opens, Borden is on trial for the murder of Angier. Not that Borden actually kills him. But for just watching him die after a magic trick goes horribly wrong. Under these circumstances you immediately sympathize with him, especially when his daughter, Jess is used as a pawn to make Borden reveal his paranormal secrets.

From here, Nolan utilizes periodic flashbacks to tell the full story which, for me at least was not difficult to track. From the initial calamity, he brings out both men’s desire for being the greatest magician, but especially Angier’s obsession with learning Borden’s secret of what he refers to as “The greatest magic trick I’ve ever seen.” Working from the adapted script he co-wrote with his brother Jonathan, Nolan works his own magic and asking “Are you watching closely” as these two antagonists sabotage one anothers’ performances through the course of the film.

Hugh Jackman’s range as an actor expands with gusto in the role of Robert Angiers. He exudes an inner frustration and loneliness while still trying his best to wow audiences. His passion for Borden’s secret consumes him to the point of being cold toward a certain person which was the only thing I found a bit distasteful.

Christian Bale’s Alfred Borden is a sharp opposite who continues to thrill spectators, has a reasonably happy life being smugly confident in his ability to keep his edge and never seems frustrated about anything until later in the movie.

Scarlett Johansson is her usual striking self as Olivia Wenscombe, Angier’s lovely assistant. Any magician , regardless of century, would hate to make her disappear. Her relationship with both Angier and Borden makes The Prestige that more intriguing, playing both sides against the middle.

Veteran british actor Michael Caine and legendary entertainer David Bowie spice things up as Cutter and the brilliant Nikola Tesla. It took me awhile to even recognize Bowie in his clean cut period suit courtesy of costume designer Joan Bergin. Their characters are, unquestionably wise beyond their years, trying to impart some prudence to a younger generation when it comes to magic.

Period films, especially this one, can dazzles one’s imagination despite the era’s setting. They can actually double as good entertainment and history lesson which I have always enjoyed. Through the haunting cinematography of Wally Pfister, the
beautiful, traditional 18th century sets by production designer Nathan Crowley and the aforementioned Joan Bergin’s wardrobe, Christopher Nolan has created a dramatic, suspenseful piece that may or may not keep you guessing until the last frame.

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