Sir Richard Attenbourough does a fine job directing this film about a magician that has little charm, personality, or self-confidence who must take a dummy into his act to let himself become famous. The only trouble is that the fine line that exists between the dummy and the ventriloquist becomes much too fine. Anthony Hopkins is really good as this shy, awkward man slowly descending into a world of madness as great success looms over the horizon. Hopkins also does the voice of the dummy, Fats, and lends his unique voice talents to create a very disturbing, eerie screen presence. The dummy is in many ways larger than life, and he steals almost every scene he is in. No supernatural puppet coming to life here, yet the character of Corky(Hopkins) gives his life to this dummy in a very unique way. The film is suitably creepy with some very atmospheric shots. As one reviewer noted, the scene where Hopkins is to not speak through the dummy for five minutes is easily the best. Each moment of that scene passed with incredible tension. It is downright chilling in fact. The other actors do very well. Burgess Meredith is made out to be much older that he was at the time, and I think he did a fantastic job. What can I say about Ann-Margaret. Stunning. She does a credible job acting, and let's face it, she looks like a million bucks(she even shows us more than expected as well). A spooky film, and a great screen performance by a much younger Anthony Hopkins.
151 Reviews
A forgotten psychological/horror gem
johno-211 March 2006
This somehow has become a forgotten movie which seems odd that after the subsequent success and recognition of Anthony Hopkins in Silence of the Lambs that more people didn't look back at his 1978 performance in this psychological/horror gem. William Goldman has quite a record of novels being adapted to film or screenplays by him which include No Way to Treat a Lady, Butch Cassidy and the Sundance Kid, The Stepford wives, The Great Waldo Pepper, All the Presidents Men, Marathon Man, Misery and A Bridge Too Far among other memorable films. Actor/Dirctor Richard Attenborough who is notable for directing Ghandi, Chaplin and A Bridge Too Far teams up again with Goldman to bring us Magic. Anthony Hopkins as the ventriloquist also provides the voice of his menacing dummy. Bergis Meredith turns in a great performance as usual as well as Ann Margaret. This is Hopkin's film though and he is superb in lead role. I saw this in the theater during it's initial release and have only seen it once since then. Don't know why this doesn't make on TV more often. I would give this an 8.0 out of 10 and recommend it.
A forgotten classic
Idocamstuf18 May 2003
I have passed on this film several times in the past, and people told me it was better than I thought, so I gave it a try. I was amazed how great it was, Anthony Hopkins has never had a character with more energy, this was before he started playing rather boring characters. Although the film does have some plot holes, and there are some unintentional laughs(especially the death of Ben Greene, I couldnt keep a straight face), but Anthony Hopkins is so good he overpowers all of the weaknesses of the film. The film made over 40 million dollars at the time of release, and thats quite a lot for 1978, Im surprised the rating isnt higher, and that it doesnt have more votes. My rating: 7.5 out of 10.
Surprisingly good!
joe_powell12 October 2004
Ventriloquist "Corky" is about to hit the big time when he starts to realize fame and fortune isn't all it's cracked up to be. He retreats to a lakeside cabin owned by the woman he fell in love with as a teenager but things turn nasty. He is suffering from schizophrenia and uses the dummy to voice the things he can't bring himself to say. This is done superbly and Anthony Hopkins plays it all extremely convincingly. Ann-Margret puts in a mostly believable performance too although at times she seems a little unlikely. It doesn't detract though, her screen presence adds a lot to the movie and she looks radiant as ever. For a while when watching this film I had a horrible feeling that the dummy would turn out to have an intelligence of its own and would start walking around with a knife in its little wooden hands. Thankfully this doesn't happen and it's a much more sinister and impressive film for it. Overall this was surprisingly watchable, well made and at times genuinely scary. The violence is filmed well and doesn't resort to bloodfests to get the message across. One of the few 70's horror flicks I've seen with good acting and a credible plot, well worth watching!
Hopkins before Lecter
faraaj-118 October 2006
I liked Magic. Its a far more sophisticated movie than Child's Play, Bride of Chucky and other unrealistic horror movies with doll's taking on a life of their own. In fact, Magic is less horror and more a study of a deeply disturbed man. Hopkins is the shy unsuccessful magician who creates an alter-ego in the form of Fats, his puppet. Together, the magician and Fats make for a very successful act and the magician starts to achieve notable success. When asked to give a health test in order to sign on for a lucrative TV deal, he refuses and runs away. He stays at an isolated island as a paying guest with his now unhappily married college crush - played by Ann-Margret. As romance starts to blossom, the Fats side of Hopkins personality also starts to take over.
Magic reminded me of The Wicker Man - a low budget but chilling Brit horror flick. To be honest, I thought Magic was the better of the two. The similarities it shares with Wicker Man are low budget, reliance on atmosphere, relative realism for the horror genre, a macabre performance by the leading man Hopkins/Christopher Lee respectively and an isolated setting close to the sea. Magic draws the viewer in more because of Hopkins performance which shows likability and vulnerability. 60's sex symbol Ann-Margret, a talented actress, has yet another small role that completely under utilises her.
I can't understand the reason for the low rating on IMDb and obscurity of this film. Even after Hopkins carved out a name for himself in the celebrated horror movie Silence of the Lambs, this was never revisited.
Magic reminded me of The Wicker Man - a low budget but chilling Brit horror flick. To be honest, I thought Magic was the better of the two. The similarities it shares with Wicker Man are low budget, reliance on atmosphere, relative realism for the horror genre, a macabre performance by the leading man Hopkins/Christopher Lee respectively and an isolated setting close to the sea. Magic draws the viewer in more because of Hopkins performance which shows likability and vulnerability. 60's sex symbol Ann-Margret, a talented actress, has yet another small role that completely under utilises her.
I can't understand the reason for the low rating on IMDb and obscurity of this film. Even after Hopkins carved out a name for himself in the celebrated horror movie Silence of the Lambs, this was never revisited.
Hopkins delivers an early star turn
neil-47618 April 2011
Warning: Spoilers
The story here is of small time stage magician Corky who is flopping. When he introduces foul-mouthed ventriloquist dummy Fats into his act, however, he takes off. But it seems that there is more to Fats than meets the eye. And when there is competition for Corky's affections...
Michael Redgrave in Dead Of Night is the first time I recall seeing a film about a dummy running the ventriloquist rather than vice versa, and Magic is a rather superior take on the same idea. The crux as far as the audience is concerned, of course, is whether there is something supernatural going on, or whether the vent is nuttier than a sack of almonds.
It doesn't matter, does it? The journey is what is important, and the journey here is great fun.
And Hopkins is superb. There is a scene towards the end where the struggle between Corky and Fats reaches its climax, and we see who is in charge. It is a scene where the performance could see easily go over the top, which would diminish the impact. Hopkins exercises restraint, and produces a sequence which I found terrifying.
Ann-Margaret and Burgess Meredith are both also very good, and credit must go to Richard Attenborough for taut direction in a piece which is not typical of his output.
Michael Redgrave in Dead Of Night is the first time I recall seeing a film about a dummy running the ventriloquist rather than vice versa, and Magic is a rather superior take on the same idea. The crux as far as the audience is concerned, of course, is whether there is something supernatural going on, or whether the vent is nuttier than a sack of almonds.
It doesn't matter, does it? The journey is what is important, and the journey here is great fun.
And Hopkins is superb. There is a scene towards the end where the struggle between Corky and Fats reaches its climax, and we see who is in charge. It is a scene where the performance could see easily go over the top, which would diminish the impact. Hopkins exercises restraint, and produces a sequence which I found terrifying.
Ann-Margaret and Burgess Meredith are both also very good, and credit must go to Richard Attenborough for taut direction in a piece which is not typical of his output.
The only commendable work of Attenborough, the director
JuguAbraham20 March 2003
While I admire Richard Attenborough the actor, I am not as enthusiastic about his work as a director. This is his best work as a director probably because as a good actor he realized the potential of the story that survives on the acting skills of the lead player. Attenborough's job was easy once he had a consummate actor in Anthony Hopkins to play the key role and provide the distinct voice of the dummy.
This film's highlights are the performances of Hopkins, Burgess Meredith and Ann-Margaret, in that order. Hopkins has matured over the years and in recent films like "Hannibal" and "Silence of the Lambs" is arresting to watch. Yet in "Magic", Attenborough is able to extract a superb performance in an otherwise above-average film.
The sequence between Hopkins and Meredith, where the dummy has to keep quiet for 5 minutes is the highlight of the film. Equally interesting is the editing (by John Bloom) of the two knifing sequences. To sum up, the acting, the low-budget direction (superior compared to "Gandhi" and "A Bridge too Far"), and the editing are the departments that are commendable in this film.
This film's highlights are the performances of Hopkins, Burgess Meredith and Ann-Margaret, in that order. Hopkins has matured over the years and in recent films like "Hannibal" and "Silence of the Lambs" is arresting to watch. Yet in "Magic", Attenborough is able to extract a superb performance in an otherwise above-average film.
The sequence between Hopkins and Meredith, where the dummy has to keep quiet for 5 minutes is the highlight of the film. Equally interesting is the editing (by John Bloom) of the two knifing sequences. To sum up, the acting, the low-budget direction (superior compared to "Gandhi" and "A Bridge too Far"), and the editing are the departments that are commendable in this film.
Still creepy after all these years
sehenley25 September 2002
This was one of the first films I ever saw that absolutely creeped me out as a kid; I hadn't seen it in years and just caught it recently on Bravo, and I have to say that it still gives me the willies! Anthony Hopkins's performance is nothing short of remarkable (he's a great Lechter, but really, his first Oscar nod SHOULD have been for this film); his scenes with Fats - and the voice he provides for the character - still make my flesh crawl. If you can get past the low production values, and hang in there past the first 15-20 minutes (plus if you can actually find this in a video store), you're in for a pretty frightening psychological ride. Hey, DVD distributors, somebody pick this one up (and get a commentary track with Hopkins, Attenborough and Ann-Margaret!)
Us is you. It was you all the time.
lastliberal18 July 2009
Long before The Silence of the Lambs, there was an Anthony Hopkins that had hair and earned a BAFTA and Golden Globe nomination for his performance as a magician.
Hopkins was magnificent as a man who gave over his personality a dummy. It was so well done, that you actually thought the dummy was having a conversation.
Burgess Meredith was excellent as his manager. There was that same attitude that he displayed in Rocky.
Ann-Margret was splendid as the girl he loved in high school and returned to after 15 tears.
A well-acted and spooky film.
Hopkins was magnificent as a man who gave over his personality a dummy. It was so well done, that you actually thought the dummy was having a conversation.
Burgess Meredith was excellent as his manager. There was that same attitude that he displayed in Rocky.
Ann-Margret was splendid as the girl he loved in high school and returned to after 15 tears.
A well-acted and spooky film.
creepy & funny
raegan_butcher12 August 2005
Strangely neglected at the time of its release, this is a creepy and sort-of black humored character study of a man who, basically, splits his personality in two halves; imagine Norman Bates with a dummy fixation instead of a Mommy fixation and you get a general idea what is in store. The scene where Burgess Meredith asks Anthony Hopkins to make the dummy stop talking for five minutes is worth the price of admission. Plus you get brief glimpses of Anne Margaret's bare breasts!
On the whole the plotting reminds me very much of a Jim Thompson novel. Not at all typical of the work of Director Richard Attenborough...unless to remember that as an actor in 1970 he portrayed real-life British Serial murderer & necrophiliac John Christie in TEN RILLINGTON PLACE (which was actually filmed in the exact house where the real-life killings took place!)
On the whole the plotting reminds me very much of a Jim Thompson novel. Not at all typical of the work of Director Richard Attenborough...unless to remember that as an actor in 1970 he portrayed real-life British Serial murderer & necrophiliac John Christie in TEN RILLINGTON PLACE (which was actually filmed in the exact house where the real-life killings took place!)
Not a horror movie, Magic is a compelling psychological thriller
FilmAlicia28 December 2014
Warning: Spoilers
NB: This review contains one major spoiler.
Anthony Hopkins used to creep me out, which is why I never watched "Magic" when it was released in 1978. (Ironically, I started loving his acting after he played Hannibal Lecter in "Silence of the Lambs.") It is worth noting that Hopkins' ascent to super-stardom more or less coincided with his decision to quit drinking, so perhaps the viewer senses that he now saves his personal darkness for his roles, and seems remarkably open, charming, and at peace as a man.
Hopkins' demons and his charm are fully on display in 1978's "Magic," a compelling thriller written by William Goldman. Richard Attenborough does a fine job directing "Magic," however there is one major plot hole that somewhat spoils a key scene in the film. Hopkins plays Corky, a talented magician whose performance anxiety disappears when he teams up with Fats, a wooden dummy. While Corky is shy and tongue-tied, Fats is confident, vulgar, and funny.
"Magic" is not a horror movie, but rather a psychological thriller. While the storyline about a ventriloquist and his all-too-human dummy has been compared to the famous Michael Redgrave vignette from the British horror classic, "Dead of Night," there is no real twist in "Magic." The filmmakers are clear from fairly early on in the film (except for one teasing moment) that Corky is an unstable schizophrenic who uses his dummy to express shadow parts of himself.
However there is one major plot contradiction, in that, on numerous occasions, Corky is able to function just fine without Fats, which is why a key scene between Corky and his agent, Ben Greene (Burgess Meredith) didn't quite work for me.
Hopkins not only learned magic tricks for the film, he also mastered ventriloquism well enough to voice "Fats." His chilling and sympathetic performance (along with those of Ann-Margret and Burgess Meredith) is reason enough to add "Magic" to your must-watch list. If not quite on the level with "Psycho," at least Hopkins didn't get typecast for life for playing a violent schizophrenic, as Anthony Perkins did. Corky is not the role of a lifetime, but it is a real corker of a role.
Anthony Hopkins used to creep me out, which is why I never watched "Magic" when it was released in 1978. (Ironically, I started loving his acting after he played Hannibal Lecter in "Silence of the Lambs.") It is worth noting that Hopkins' ascent to super-stardom more or less coincided with his decision to quit drinking, so perhaps the viewer senses that he now saves his personal darkness for his roles, and seems remarkably open, charming, and at peace as a man.
Hopkins' demons and his charm are fully on display in 1978's "Magic," a compelling thriller written by William Goldman. Richard Attenborough does a fine job directing "Magic," however there is one major plot hole that somewhat spoils a key scene in the film. Hopkins plays Corky, a talented magician whose performance anxiety disappears when he teams up with Fats, a wooden dummy. While Corky is shy and tongue-tied, Fats is confident, vulgar, and funny.
"Magic" is not a horror movie, but rather a psychological thriller. While the storyline about a ventriloquist and his all-too-human dummy has been compared to the famous Michael Redgrave vignette from the British horror classic, "Dead of Night," there is no real twist in "Magic." The filmmakers are clear from fairly early on in the film (except for one teasing moment) that Corky is an unstable schizophrenic who uses his dummy to express shadow parts of himself.
However there is one major plot contradiction, in that, on numerous occasions, Corky is able to function just fine without Fats, which is why a key scene between Corky and his agent, Ben Greene (Burgess Meredith) didn't quite work for me.
Hopkins not only learned magic tricks for the film, he also mastered ventriloquism well enough to voice "Fats." His chilling and sympathetic performance (along with those of Ann-Margret and Burgess Meredith) is reason enough to add "Magic" to your must-watch list. If not quite on the level with "Psycho," at least Hopkins didn't get typecast for life for playing a violent schizophrenic, as Anthony Perkins did. Corky is not the role of a lifetime, but it is a real corker of a role.
A Potpourri of Vestiges Review: A haunting work of cinematic art
murtaza_mma22 January 2013
Richard Attenborough's Magic (1978) is an exceptional work of cinema that has so much to offer to the viewer at different levels. It features Anthony Hopkins in the role of a shy ventriloquist named Corky Withers. Corky's act in which he uses a dummy to perform on-stage magic tricks is an instant success. Corky is at height of his fame and probably a single step away from becoming an icon. But, things are not as simple as they appear. Believe it or not, but Corky's dummy Fats has developed a mind of its own! And Corky must learn to control it before it's too late.
Anthony Hopkins, I daresay, delivers the best performance of his life. The role of Hannibal Lecter may have elevated Hopkins to apotheosis but Corky has a sense of vulnerability that makes it appear far more realistic than Lecter. A comparison between Lecter and Corky is inevitable for both the characters lie on the brink of insanity... while the former can control it to a great extent the latter is always at the mercy of his vicious alterego. Magic (1978) is a psychological thriller of the highest quality. And Hopkins' sublime portrayal makes it an experience of a lifetime. Ann-Margret is brilliant in the role of Peggy Ann Snow. Burgess Meredith as Ben Greene virtually steals every scene that he is a part of.
Magic (1978) is indeed magical. And the dream-like combination of two great Englishmen, Richard Attenborough and Anthony Hopkins, makes it possible. A necessary watch!
http://www.apotpourriofvestiges.com/
Anthony Hopkins, I daresay, delivers the best performance of his life. The role of Hannibal Lecter may have elevated Hopkins to apotheosis but Corky has a sense of vulnerability that makes it appear far more realistic than Lecter. A comparison between Lecter and Corky is inevitable for both the characters lie on the brink of insanity... while the former can control it to a great extent the latter is always at the mercy of his vicious alterego. Magic (1978) is a psychological thriller of the highest quality. And Hopkins' sublime portrayal makes it an experience of a lifetime. Ann-Margret is brilliant in the role of Peggy Ann Snow. Burgess Meredith as Ben Greene virtually steals every scene that he is a part of.
Magic (1978) is indeed magical. And the dream-like combination of two great Englishmen, Richard Attenborough and Anthony Hopkins, makes it possible. A necessary watch!
http://www.apotpourriofvestiges.com/
Nice acting and direction, but lacking in some important areas
The_Void28 March 2007
The ventriloquist dummy is a popular horror prop; ever since Dead of Night in 1945, the ventriloquist dummy has popped up in a number of films; and Magic is one of the most classy and high quality. However, it's not necessarily one of the best; as while the acting is good and Richard Attenborough manages to create just the right tone and atmosphere for the film; something about it severely lacking. The tagline bills it as a 'love story', and this would appear to sum up Magic's problems - it doesn't really know what it wants to be! The relationship between the ventriloquist and his dummy is build up as antagonistic until the very end, and by then it feels out place. The plot focuses on Corky; a magician who isn't all that good. But when he teams up with a wooden dummy named Fats; the crowd begins to love him. However, the fame starts to go to him and he soon finds that he can't turn the dummy 'off'. He goes and finds his high school sweetheart, and the two start to get on well; but it's not long before his fame comes looking for him, and the dummy shows its murderous side.
Anthony Hopkins is clearly one of the acting greats; and while this film came earlier than his more memorable performances in movies such as The Silence of the Lambs and The Elephant Man, it's still obvious that Hopkins is a master of his trade. The film comes across as a high quality piece, but somehow this doesn't apply to the plotting, as there are some very questionable character actions and events, and while this may be OK in another film; the fact that this one obviously wants to rise above the low quality horror films means that it's hard to ignore. Magic isn't particularly nasty; there are a couple of death scenes, but the blood is kept to a minimum, and again this seems like Attenborough was trying not to make the film seem cheap and tacky. Most of the horror comes from the dummy; Anthony Hopkins does Fats' voice and it's not far from being the most piercing and haunting horror vocal of all time, which is the film's main credit. Overall, Magic certainly isn't a bad film; it's worth watching for sure, but unfortunately it's not as great as it could have been.
Anthony Hopkins is clearly one of the acting greats; and while this film came earlier than his more memorable performances in movies such as The Silence of the Lambs and The Elephant Man, it's still obvious that Hopkins is a master of his trade. The film comes across as a high quality piece, but somehow this doesn't apply to the plotting, as there are some very questionable character actions and events, and while this may be OK in another film; the fact that this one obviously wants to rise above the low quality horror films means that it's hard to ignore. Magic isn't particularly nasty; there are a couple of death scenes, but the blood is kept to a minimum, and again this seems like Attenborough was trying not to make the film seem cheap and tacky. Most of the horror comes from the dummy; Anthony Hopkins does Fats' voice and it's not far from being the most piercing and haunting horror vocal of all time, which is the film's main credit. Overall, Magic certainly isn't a bad film; it's worth watching for sure, but unfortunately it's not as great as it could have been.
Spooky
mavmaramis21 May 2007
Warning: Spoilers
A young Anthony Hopkins plays a ventriloquist-cum-failed magician, who after initially bombing on his first performance uses 'Fats' a seemingly ordinary ventriloquists dummy in his act. Initially as a prop/sidekick, the funny man in a double act but relying on it as a 'crutch' more and more until it appears to his manager (Burgess Meredith) that he is having a nervous breakdown.
Magic, is a film that has been done before and in my opinion better.
The first was in the 1945 film Dead of Night (or at least a sequence wherein Michael Redgrave plays a demented ventriloquist who believes his dummy is alive).
The second is a classic episode of The Twilight Zone called "The Dummy" written by Rod Serling but based on an unpublished story by Lee Polk. This time the plot device is a "switcheroo". Cliff Robertson plays Jerry Etherston convinced his dummy 'Willie' is alive. At the end Willy becomes the ventriloquist (played by George Murdock) and Etherstone the dummy.
"What's known in the parlance of the times as the old switcheroo, from boss to blockhead in a few easy lessons. And if you're given to nightclubbing on occasion, check this act. It's called Willie and Jerry, and they generally are booked into some of the clubs along the 'Grey Night Way' known as the Twilight Zone"
The third is a minor Zone episode called "Caesar and Me" in which the dummy frames the ventriloquist for a robbery.
It was "The Dummy" - with one of the most chilling final shots of any TZ episode - a slow camera pan from the grinning, now human Willie to the dummy of Jerry that has remained seared into my memory.
This film is 'of it's time' - very grainy 70s film stock, bleak, sinister, spooky and occasionally terrifying. The sinister orchestral music by Jerry Goldsmith helps - but still we are left trying to decide whether Hopkins is mad or the dummy is really alive.
Frightening, eerie, mysterious - probably all of those at the time but watching now these have paled into mere suspense - the signposts are there but not quite in plain sight.
A good film, yes, almost as good as a Twilight Zone episode but not one to watch alone or in the dark and really should have ended with narration - in Rod's inimical style of course.
Magic, is a film that has been done before and in my opinion better.
The first was in the 1945 film Dead of Night (or at least a sequence wherein Michael Redgrave plays a demented ventriloquist who believes his dummy is alive).
The second is a classic episode of The Twilight Zone called "The Dummy" written by Rod Serling but based on an unpublished story by Lee Polk. This time the plot device is a "switcheroo". Cliff Robertson plays Jerry Etherston convinced his dummy 'Willie' is alive. At the end Willy becomes the ventriloquist (played by George Murdock) and Etherstone the dummy.
"What's known in the parlance of the times as the old switcheroo, from boss to blockhead in a few easy lessons. And if you're given to nightclubbing on occasion, check this act. It's called Willie and Jerry, and they generally are booked into some of the clubs along the 'Grey Night Way' known as the Twilight Zone"
The third is a minor Zone episode called "Caesar and Me" in which the dummy frames the ventriloquist for a robbery.
It was "The Dummy" - with one of the most chilling final shots of any TZ episode - a slow camera pan from the grinning, now human Willie to the dummy of Jerry that has remained seared into my memory.
This film is 'of it's time' - very grainy 70s film stock, bleak, sinister, spooky and occasionally terrifying. The sinister orchestral music by Jerry Goldsmith helps - but still we are left trying to decide whether Hopkins is mad or the dummy is really alive.
Frightening, eerie, mysterious - probably all of those at the time but watching now these have paled into mere suspense - the signposts are there but not quite in plain sight.
A good film, yes, almost as good as a Twilight Zone episode but not one to watch alone or in the dark and really should have ended with narration - in Rod's inimical style of course.
Attenborough Directs A Creepy Psychological Thriller
Chrysanthepop20 September 2008
Richard Attenbourough has directed an intriguing and creepy little psychological thriller about a schizophrenic ventriloquist who 'splits' his identity with his dummy. Attenbourough has given a lot of attention to the setting creating an atmospheric effect such as the silent gloomy lake (inhabited by snapping turtles) and Corky's lonely cabin. The cinematography, particularly the closeups, are very impressive. 'Magic' is a simple film and while many have assumed that it's a horror film where the dummy is expected to become some kind of horrific entity (as I thought), that is not the case. Anthony Hopkins gives a stunning performance as the complex, shy and lonely Corky who finally finds love and his manipulative dummy Fats. There are so many moments of his excellent acting. Some examples include the scene where Corky is subjected to 'stop being Fats' for 5 minutes, the boat sequence and Hopkins's scenes with Ann Margret. Though he is more recognized for his 'chilling' Hannibal Lector persona, 'Magic' definitely showcases one of his best performances. The sexy Ann Margret also does an excellent job as the love of Corky's life. She brings a lot of depth to Peggy and she shows more than expected. Burgess Meredith leaves a mark as Corky's concerned manager. Overall, it's nice to see a different kind of Attenborough film. One that is quite well made and very well acted.
Up next: Young Hannibal Lector and his deadly dummy!
Coventry13 October 2004
Richard Attenborough, known for his classy (but especially long and tedious) epical films, directs a tense thriller with horror undertones?? Sounds like a Disney film brought to you by Quentin Tarantino! But surprisingly enough, Attenborough knows damn well how to bring the unsettling and eerie tale of a ventriloquist who slowly loses his sense of reality and starts to live through his dummy. Too bad he can't resist stressing the drama and sentiment even more. For every suspenseful sequence in 'Magic', there's a dull and pseudo-psychological anti-climax following.
The opening sequences of 'Magic' are terrific! Through flashback and a conversation with his mentor, we see how Corky (Anthony Hopkins) struggles and fights to make it as a magician/stage performer. The transfer to his all-of-a-sudden successful career as a ventriloquist comes rather abrupt and it's hard to believe. Yet, you don't bother about this too much as the dialogues are good and Hopkins' performance is outstanding. He can't handle the pressure and flees to the countryside where he meets his long-lost high school dreamgirl. Meanwhile, he becomes more and more obsessed by his voice tube-dummy Fats. The idea of evil ventriloquist dummies might not be new (The Great Gabbo, Dead of Night) but 'Magic' is neatly elaborated and very well-acted. Unfortunately, it hurt seeing Ann-Margret so underused! She has a relatively small part and all Hopkins ever talks to are her bosom! Nicest line in the whole movie: 'Your breasts belong in the Louvre, which is a museum in France and I'd love to visit it with you!' That's great! I have to keep that in mind and use it as a pick-up line someday!
The opening sequences of 'Magic' are terrific! Through flashback and a conversation with his mentor, we see how Corky (Anthony Hopkins) struggles and fights to make it as a magician/stage performer. The transfer to his all-of-a-sudden successful career as a ventriloquist comes rather abrupt and it's hard to believe. Yet, you don't bother about this too much as the dialogues are good and Hopkins' performance is outstanding. He can't handle the pressure and flees to the countryside where he meets his long-lost high school dreamgirl. Meanwhile, he becomes more and more obsessed by his voice tube-dummy Fats. The idea of evil ventriloquist dummies might not be new (The Great Gabbo, Dead of Night) but 'Magic' is neatly elaborated and very well-acted. Unfortunately, it hurt seeing Ann-Margret so underused! She has a relatively small part and all Hopkins ever talks to are her bosom! Nicest line in the whole movie: 'Your breasts belong in the Louvre, which is a museum in France and I'd love to visit it with you!' That's great! I have to keep that in mind and use it as a pick-up line someday!
First-rate horror theme is smothered too much in melodrama.
Wilbur-1015 January 2001
Excellent central idea is diluted by the drama elements which are introduced into the story. These were presumably an attempt to broaden the films appeal - something of a trend in American horror films of the late 1970's - but they ultimately prove detrimental.
Anthony Hopkins is a neurotic ventriloquist who finds himself increasingly coming under the influence of his dummy. He gives a convincing performance of a man losing his grip and realising he is powerless to stop it. His descent into madness provides the strongest horror elements of the film - scenes where Fats the dummy is in human-mode tend to be less plausible, although he does remain a sinister force throughout.
With Hopkins as the star and Richard Attenborough directing, 'Magic' has gained in reputation following their subsequent elevation to 'A' status. Certainly these two heavyweights bring enough touches of quality to raise the film above the mediocre, without ever giving it touches of real brilliance, despite one or two genuinely scary moments.
Film follows the theme seen in 'The Great Gabbo' (1929) and 'Devil Doll' (1964) - though most famously a ventriloquist's dummy featured in the classic British horror anthology 'Dead of Night' (1945).
Anthony Hopkins is a neurotic ventriloquist who finds himself increasingly coming under the influence of his dummy. He gives a convincing performance of a man losing his grip and realising he is powerless to stop it. His descent into madness provides the strongest horror elements of the film - scenes where Fats the dummy is in human-mode tend to be less plausible, although he does remain a sinister force throughout.
With Hopkins as the star and Richard Attenborough directing, 'Magic' has gained in reputation following their subsequent elevation to 'A' status. Certainly these two heavyweights bring enough touches of quality to raise the film above the mediocre, without ever giving it touches of real brilliance, despite one or two genuinely scary moments.
Film follows the theme seen in 'The Great Gabbo' (1929) and 'Devil Doll' (1964) - though most famously a ventriloquist's dummy featured in the classic British horror anthology 'Dead of Night' (1945).
A well done thriller
nirelizov25 June 2006
Warning: Spoilers
The reason for even watching this film is because of Hopkins appearance, which I find well acted. It got some hint of his future Hanibal pereformance in Silence of the lambs. Richard Attenborough direction is very surprising, the sets are amazing. The lake, that most of the film is taking place on, is so peacfull and makes the film more disturbing, also the NYC scene is done remarkebly well. I also love the film title scene which include some exposition about the magician in hand and also Corky (Hopkins) mentor, which guide him into the magician & performing abilities. The films itself is moving nicely along and the story is very interesting and gripping. The resemblance between Corky and Fats (The evil doll) is very convincing and as the movie move forward they are getting more and more alike, even dress the same.
The reason I am giving this movie 6 stars is because I find Ann Margaret acting unconvincing and also the last 15 min of the film is a bit boring for me, I think that it should end before. As a short story it would have been a pure masterpiece, but hey it was already done before and in a much more frightening way, so check out "Dead of night" and be prepered to be shocked.
The reason I am giving this movie 6 stars is because I find Ann Margaret acting unconvincing and also the last 15 min of the film is a bit boring for me, I think that it should end before. As a short story it would have been a pure masterpiece, but hey it was already done before and in a much more frightening way, so check out "Dead of night" and be prepered to be shocked.
Incredible!
Zorro-31 February 2001
Warning: Spoilers
I can't understand the low rating this film receives. Certainly, it could have been a little tighter, but this outstanding early performance by one of today's eminent actors surely deserves better. And Ann-Margret added quite a bit herself. And Burgess Meredith was as good as ever.
A better, mess-with-your-head, psychological thriller there never was. (POSSIBLE SPOILER) Right up till the end, I was left wondering whether Fats was a supernatural being (like Chucky) who had a soul of his own.
Don't miss this one. And for goodness sake, give it a good vote!
A better, mess-with-your-head, psychological thriller there never was. (POSSIBLE SPOILER) Right up till the end, I was left wondering whether Fats was a supernatural being (like Chucky) who had a soul of his own.
Don't miss this one. And for goodness sake, give it a good vote!
Show Me The Dummy
Theo Robertson12 October 2004
Apologies for the above summary since it was too good to miss out on an awful pun . If I were to give an honest one word summary for MAGIC it would be " Bizarre "
This a very bizarre film . I am somewhat puzzled by the IMDb classing it in the horror/thriller bracket because it's not really , it's more of a black comedy centered around stand up magician Corky whose life is taken over more and more by a ventriliquist dummy called Fats
There are some good aspects to William Goldman's script . The pacing is nice , the dialogue is good while we're also treated to a very witty scene as Corky relates his first night on stage as the action flashes back to a very uninterested audience . However there's no way I could take seriously the central idea of some guy doing card tricks getting any type of crowd adulation or being on the brink of stardom because he introduced a dummy into his act . " Hey you gotta love this guy " - No we don't ,, how can you love someone who sticks his hand up a puppet's bottom for a living ? It's bad enough the entertainment business has to suffer David Copperfield and David Blaine . Can you imagine what they'd be like with Rod Hull's Emu on their arm ?
Like the script the directing is rather uneven in execution . Richard Attenborough manages to get good performances out of his cast , Anthony Hopkins accent might flit back and forth but he manages to give some indication he's well on the way to becoming one of Britain's greatest living character actors but the inequality of Attenborough's directing of MAGIC can be best summed up with the scene in the boat house with Corky and his agent who tells Corky not to use Fats for 5 minutes . The agent opens the door to leave and the tension is defused when we see that the river and trees outside are a very obvious painted backdrop
Still despite all this it's better than CHILD'S PLAY
This a very bizarre film . I am somewhat puzzled by the IMDb classing it in the horror/thriller bracket because it's not really , it's more of a black comedy centered around stand up magician Corky whose life is taken over more and more by a ventriliquist dummy called Fats
There are some good aspects to William Goldman's script . The pacing is nice , the dialogue is good while we're also treated to a very witty scene as Corky relates his first night on stage as the action flashes back to a very uninterested audience . However there's no way I could take seriously the central idea of some guy doing card tricks getting any type of crowd adulation or being on the brink of stardom because he introduced a dummy into his act . " Hey you gotta love this guy " - No we don't ,, how can you love someone who sticks his hand up a puppet's bottom for a living ? It's bad enough the entertainment business has to suffer David Copperfield and David Blaine . Can you imagine what they'd be like with Rod Hull's Emu on their arm ?
Like the script the directing is rather uneven in execution . Richard Attenborough manages to get good performances out of his cast , Anthony Hopkins accent might flit back and forth but he manages to give some indication he's well on the way to becoming one of Britain's greatest living character actors but the inequality of Attenborough's directing of MAGIC can be best summed up with the scene in the boat house with Corky and his agent who tells Corky not to use Fats for 5 minutes . The agent opens the door to leave and the tension is defused when we see that the river and trees outside are a very obvious painted backdrop
Still despite all this it's better than CHILD'S PLAY
underrated and great suspense film
john2290016 March 2007
This neglected film does not deserve to be neglected. In fact, it might even be one of Hopkins's best performances on film. Moreover, I even think it probably is even better than Hopkins's Oscar-winning turn as Hannibal Lecter in "Silence of the Lambs". The reason I say that is because Hopkins's in the latter film was rather hammy and way way over-the-top but then maybe that was the kind of performance the director wanted. But Hopkins's performance in "Magic" is understated almost to the point of numbness and yet that is what I felt was so brilliant about it. The scene where Hopkins's manager, Burgess Meredith, forces Hopkins and the dummy not to utter a single word in the space of five minutes is one of the single most suspenseful scenes ever committed to celluloid. And although the time goes by slowly, the suspense keeps building and building and you can actually see the inner pain that expresses itself onto Hopkins's face. That scene alone is worth seeing the picture for. And while I love Ann-Margret, she is basically window dressing here but then who cares when she is so great just to look at anyway.
The irony of Magic
nomorefog23 June 2011
Warning: Spoilers
Anthony Hopkins plays second fiddle to a dummy in this thoughtful examination of the downside of show business and the illusions that can somehow take over our lives. I think of 'Magic' as a cross between the Michael Redgrave story in 'Dead of Night' (1947) and 'Silence of the Lambs'. The former is the iconic narrative of a ventriloquist being taken over by his dummy; the latter in relation to 'Magic' is Sir Anthony's update of an innocent suffering from demons he cannot understand to Dr Lecter's deliberate decadence and depravity of character. Corky is the father of Dr Lecter so to speak, his offspring far more deadly than he ever was himself. Hopkins is excellent and this is a good thriller, but not flashy and it leaves a lot of gaps for your imagination to fill in instead of routinely connecting the dots in a mechanical fashion as many thrillers are wont to do.
The story concerns Hopkins as Corky, a second-rate card player and magician who hits it big when he becomes a ventriloquist using an obnoxious dummy to express his inner rage and torment. The act becomes a lucrative money-spinner, at least for his agent Ben Green (played by Burgess Meredith). All is not well as Corky gets scared away from fame by his lack of confidence and attempts to re-unite with his childhood sweetheart Peggy Ann (Ann Margret) in the Catskill mountains; Ben finds out where he's gone and arrives to give Corkey an ultimatum which sadly goes unheeded. Ed Lauter plays Peggy Ann's on-again, off-again husband who appears to be a drunken paranoid and constantly accuses Peggy Ann of being unfaithful to him. The main character is the dummy named Fats, who uses Hopkins' own voice and the trick is wonderfully effective. The dummy is foul mouthed and outrageous and appears to have a life of its own, at least in Corky's mind, and Corky takes notice of what Fats tells him he should do.
One of the assets of this film is the glorious soundtrack provided by Jerry Goldsmith, which serves to illustrate Corky's mental instability and his dependence on Fats. The opening credits theme is I think one of Goldsmith's best, and the rest of the music is woven into the narrative in order that we experience Corky's disturbed state of mind. Fats is more than Corky's alter ego. I would call him his doppelganger, a double with the goodness drained away and replaced with a generous dose of evil, capable of anything and eager to break away from its host. 'Magic' is a unique experience in that mundane happenings of our daily lives can mean more than what we may have imagined. And maybe that is what the 'magic' in the title refers to.
The story concerns Hopkins as Corky, a second-rate card player and magician who hits it big when he becomes a ventriloquist using an obnoxious dummy to express his inner rage and torment. The act becomes a lucrative money-spinner, at least for his agent Ben Green (played by Burgess Meredith). All is not well as Corky gets scared away from fame by his lack of confidence and attempts to re-unite with his childhood sweetheart Peggy Ann (Ann Margret) in the Catskill mountains; Ben finds out where he's gone and arrives to give Corkey an ultimatum which sadly goes unheeded. Ed Lauter plays Peggy Ann's on-again, off-again husband who appears to be a drunken paranoid and constantly accuses Peggy Ann of being unfaithful to him. The main character is the dummy named Fats, who uses Hopkins' own voice and the trick is wonderfully effective. The dummy is foul mouthed and outrageous and appears to have a life of its own, at least in Corky's mind, and Corky takes notice of what Fats tells him he should do.
One of the assets of this film is the glorious soundtrack provided by Jerry Goldsmith, which serves to illustrate Corky's mental instability and his dependence on Fats. The opening credits theme is I think one of Goldsmith's best, and the rest of the music is woven into the narrative in order that we experience Corky's disturbed state of mind. Fats is more than Corky's alter ego. I would call him his doppelganger, a double with the goodness drained away and replaced with a generous dose of evil, capable of anything and eager to break away from its host. 'Magic' is a unique experience in that mundane happenings of our daily lives can mean more than what we may have imagined. And maybe that is what the 'magic' in the title refers to.
where is the DVD ???
Joel Hencken11 April 2004
I agree with the previous review entirely.
This is a film in the thriller tradition which separates the Alfred Hitchcocks from the pulp-makers. Anthony Hopkins is absolutely at the top of his form, being truly creepy rather than over-the-top vile (i.e., Hannibal).
At minimum I think the film should be regarded as a cult classic, if not a regular classic.
A very under-appreciated film, which should be available on DVD -- especially considering the ahem not-always-superior material that the industry has already made available!
Hollywood -- please give us a well-done DVD of this wonderful title!
This is a film in the thriller tradition which separates the Alfred Hitchcocks from the pulp-makers. Anthony Hopkins is absolutely at the top of his form, being truly creepy rather than over-the-top vile (i.e., Hannibal).
At minimum I think the film should be regarded as a cult classic, if not a regular classic.
A very under-appreciated film, which should be available on DVD -- especially considering the ahem not-always-superior material that the industry has already made available!
Hollywood -- please give us a well-done DVD of this wonderful title!
Creepy
chez-35 February 1999
"Magic" is a creepy little thriller starring Anthony Hopkins (sadly overlooked for an Oscar nomination) as a ventriloquist whose dummy, Fats, has a life all its own. To get away from the pressures of show business Hopkins (with Fats in his luggage trunk) flees to the country where he meets up with Ann-Margret an old high school flame. When things appear to heat up Fats interferes to make sure no one comes between him and Hopkins.
It's not a great movie but it has its moments. The best scene involves a bet : Burgess Meredith, as Hopkins' agent, fearing that Hopkins is losing his mind bets him that he can't keep Fats quiet for five minutes. It is a frightening scene watching Hopkins squirm and sweat and is the longest five minutes of his life.
It's not a great movie but it has its moments. The best scene involves a bet : Burgess Meredith, as Hopkins' agent, fearing that Hopkins is losing his mind bets him that he can't keep Fats quiet for five minutes. It is a frightening scene watching Hopkins squirm and sweat and is the longest five minutes of his life.
Gloomy hocus-pocus...
moonspinner5510 December 2006
William Goldman adapted his own novel, a melodrama about an unstable ventriloquist comedian--not exactly a winning match-up. Anthony Hopkins gives an agonizing actors' performance playing a magician/ventriloquist who revels in a sort of naughty burlesque style; however, at this stage in his career, Hopkins seemingly had no good humor in him (nasty or otherwise), nor did glum director Richard Attenborough, who has seen too many movies and replicates old suspense. This isn't "Dead Of Night", this is more like "Night Gallery" (and one of the weaker episodes!). "Magic" pulls nothing new from its hat, although Ann-Margret plays a former crush very sweetly--she's a welcome relief to all the perspiring and twitching Hopkins heaps upon us--and Burgess Meredith does his wily old coot bit to perfection. The dummy, Fats, is made to look like a Hopkins caricature; he's kind of freaky, yet his intrusive manner is decidedly off-putting. This is a gimmick movie without much of a gimmick, just a bunch of timeworn ideas. The low-keyed, solemn finale--just as gloomy as the rest of the picture--is more perplexing than thoughtful (mainly due to Ann-Margret's dialogue being poorly recorded), and is apt to leave viewers feeling disenchanted and maybe resentful. ** from ****
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