The Prestige (2006)

The following is a review for "The Prestige," which I did back on 11/14/2006. It's the best film of 2006, and here's why:

THE PRESTIGE (2006)

Christopher Nolan is quickly etching himself among the elite of Hollywood's directors. His follow-up to the 2005 success Batman Begins is an adaptation of Christopher Guest's novel, "The Prestige." A mostly strong cast, powerful cinematography, effective editing, and a well-woven and deceptive story make this film one of the rare gems of 2006.Robert Angier (Hugh Jackman, Swordfish) and Alfred Borden (Christian Bale, The Dark Knight) are rival magicians at the turn-of-the-century London. Their rivalry is the centerpiece of the film, and surrounded by a slew of thought-provoking characters—Cutter (Michael Caine, Batman Begins), Julia Angier (Piper Perabo, Ashes), Sarah Borden (Rebecca Hall, Starter For Ten), Nikolas Tesla (David Bowie, Labyrinth), Alley (Andy Serkis, Lord of the Rings: The Two Towers), and Owens (Roger Rees, Robin Hood: Men in Tights).

Despite strong performances all around, the weakness of the film is the casting of Scarlett Johansson (Mary, Queen of Scots) as Olivia Wenscombe. Johnansson is merely fodder for Bale, Jackman, and Caine. One may question this odd trend in Nolan's films, merely to grab the MTV young male demographic. Johansson is much like Katie Holmes in Batman Begins—she is outclassed and outperformed by her cast-mates. Johansson is also outdone by Piper Perabo, in a surprisingly powerful performance (yet her screen time is limited). One also wonders if a possible future Selina Kyle will go to a pretty face or a solid actress.

Much like all of Nolan's successes, the cinematography is a powerful piece of the picture. Oscar-nominee (2005, Batman Begins) Wally Pfister sets a flawless frame. Though most of the shots are hand-held, Pfister's vision once again meshes with Nolan's. We are drawn into a deceptive and provoking tale.

The editing sets an appropriate mood—deception. Lee Smith (The Dark Knight) changes the tempo of cuts with the tempo of the film. The seamless edits match each and every beat of the film. As the story tends to sway from one variable to another, the editing appropriately succeeds in complementing such frequent change.

The story is rooted in deception. Jonathan Nolan (The Dark Knight) adds multiple layers to each and every character. There are no definitive plot points, but a constant barrage of pinches, keeping the viewer's mind active and unable to form a thoughtful conclusion. The conclusion of the film borrows heavily from old radio shows (The Shadow, in particular).

This is one of the great films of the year. Despite Johansson's weaknesses, the cast is strong and the story hungrily draws in the viewer. This is not merely a warm-up to 2008, but a film rooted in intelligent deception while tinkering with the boundaries of fiction.

Overall rating: 9/10.