The Prestige

Christopher Nolan, US, 2006, 130 minutes

The Prestige is the story of two magicians… no wait, come back. As soon as you mention the word magic, a large portion of the audience stops listening. Which is a pity, as those people will miss one of the best films of recent years.

The film is the fourth work from the most consistent director currently working in Hollywood, Christopher Nolan. Nolan scored an unexpected hit with Memento, an audaciously structured thriller written by his brother Jonathon. He followed this up with the underrated Insomnia before joining the Hollywood A list with his renewal of the flagging Batman franchise, Batman Begins. Now he has reunited with his brother for a film which continues with the twisting narrative approach utilised so successfully in their earlier effort. The Prestige is a film about obsession and the deadly consequences of an escalating professional rivalry (yes, between magicians). It revolves around Borden (Christian Bale) and Angiers (Hugh Jackman), aspiring magicians in nineteenth century London. A personal tragedy for Angiers creates a wedge between the pair, leading to a lifelong battle for supremacy which overshadows all aspects of their lives.

Nolan has always been a director with the ability to coax great performances from his cast. In Memento, Guy Richie gave a career best performance. His subsequent films have seen actors queue up to work with him, from Christian Bale, Al Pacino, Cillian Murphy, Michael Caine, Robin Williams (excellent, honestly) and Morgan Freeman to name a few. The Prestige contains committed central performances from Christian Bale and Hugh Jackman. While Jackman convincingly portrays a man forced to constantly redefine the lengths he will go to for revenge, it is Bale that really shines, creating a character who retains the sympathies of the audience despite neglecting his family and matching Angier blow for blow. Both actors are ably backed up by a stellar supporting cast containing Michael Caine, Scarlett Johansson and a perfectly cast David Bowie.

However, the film remains a director rather than an actor’s showcase. Nolan revels in cinematic sleight of hand. While many films contain a twist aimed at shocking the audience, the Prestige constantly subverts expectations. The film jumps effortlessly in time, leaving the audience disorientated. However the director is in complete control, tying together the many loose ends into a satisfying whole. The result is a hugely entertaining film which will amply reward viewers willing to enter with an open mind.

Review by Neil Henry
Written for EUFS Programme Spring 2008