"Magic is misdirection. That's all it is. Misdirection is getting the people to look at the wrong place at the right time".
There's no real sleight-of-hands in this somber, characterized-driven psychology thriller -- led by the inspired performance of Anthony Hopkins as the failed magician, turned successful ventriloquist Corky, along with engaging support parts. It can grind at times and the established plot seems to rush into the ordeal without any exposition of how all it became, yet once it settles, Sir Richard Attenborough's calculative direction of its tranquil framework seems to give the actors the opportunity to emotionally unfold right in front of our very eyes.
This makes it much more effective, as at its core is a predictable love-story that can only end in one manner, in spite of Corky's best efforts to keep in check that split personality. His happiness does come at a cost. The interplay between he and his ventriloquist doll, Fats, is always entertaining, sometimes even creepy. The obvious lost in the character moments, as Corky becomes the one manipulated, didn't feel as threatening, more so depressing in the transformation. The worrying dependence of Fats looks like it's there for a sheer boost in confidence, never wanting to have that feeling of failure. Fats is the release valve wanting to take over. And the best scene in the film involving an excellent Burgess Meredith as Corky's good-willed talent agent confronting him about his instability, paints the unstable reality that's beginning to take control. Corky himself knows it, as the cracks steer to distressing actions of never coming back from.
This leads to the turning point; the love-interest played by the warm-hearted Ann-Margret. It's the be all and end all that sets everything towards it's dark path. The touching rapport between Hopkins and Ann-Margret is brought across by their convincing performances. Hopkins' timid persona was matched by those sudden intense bursts. Also there's a small commendable turn by Ed Lauter. Another important factor to setting the mood is Jerry Goldsmith's stirring music score.
"MAGIC" remains a solid, yet downplayed late 70s parable.
There's no real sleight-of-hands in this somber, characterized-driven psychology thriller -- led by the inspired performance of Anthony Hopkins as the failed magician, turned successful ventriloquist Corky, along with engaging support parts. It can grind at times and the established plot seems to rush into the ordeal without any exposition of how all it became, yet once it settles, Sir Richard Attenborough's calculative direction of its tranquil framework seems to give the actors the opportunity to emotionally unfold right in front of our very eyes.
This makes it much more effective, as at its core is a predictable love-story that can only end in one manner, in spite of Corky's best efforts to keep in check that split personality. His happiness does come at a cost. The interplay between he and his ventriloquist doll, Fats, is always entertaining, sometimes even creepy. The obvious lost in the character moments, as Corky becomes the one manipulated, didn't feel as threatening, more so depressing in the transformation. The worrying dependence of Fats looks like it's there for a sheer boost in confidence, never wanting to have that feeling of failure. Fats is the release valve wanting to take over. And the best scene in the film involving an excellent Burgess Meredith as Corky's good-willed talent agent confronting him about his instability, paints the unstable reality that's beginning to take control. Corky himself knows it, as the cracks steer to distressing actions of never coming back from.
This leads to the turning point; the love-interest played by the warm-hearted Ann-Margret. It's the be all and end all that sets everything towards it's dark path. The touching rapport between Hopkins and Ann-Margret is brought across by their convincing performances. Hopkins' timid persona was matched by those sudden intense bursts. Also there's a small commendable turn by Ed Lauter. Another important factor to setting the mood is Jerry Goldsmith's stirring music score.
"MAGIC" remains a solid, yet downplayed late 70s parable.