I won't say it's an underrated movie, but it has somewhat been buried by the legacy of other "popular" Nolan movies. With this movie, Nolan shows his ability to make a metacinematic film, yet again. This is obviously my most favorite Christopher Nolan movie, along with "Memento" (2000). Just like you can relate the theme of memories and interpretations shown in the story of "Memento" with the actual experience we had while watching the movie, we can relate the three acts of a magic trick narrated within the story with the movie itself. As the movie says, the final reveal in a magic trick is the most thrilling experience. So is that of this movie. In fact, the whole movie can be weirdly related to a magic trick. It is one of those movies which feel quite ordinary until a major twist makes it great. Speaking of the cinematic experience, it is a typical Nolan styled movie. It has broken timelines to enhance the storytelling, but unlike in most of his movies these are done more artistically than just for the thrilling reveal. This is perhaps the movie where Nolan's broken timelines have enhanced the storytelling in the most brilliant way. Like in most of movies, he dwells in a single theme - here it's obsession. The obsession of Robert Angier is what drives the plot of the movie, and is well established and doesn't even feel forced. There is a protagonist, and an antagonist in this movie. The character development is done so smoothly that we see the protagonist become an antagonist, while the antagonist remains somewhat the same. Though we don't get a full "interchange" between the antagonist and the protagonist, as the movie progresses, the protagonist feels more "wrong" than the antagonist. That's quite a difficult thing that it pulls off. Alfred Bordon is one of the most "complex" characters I have ever seen. He feels like some kind of a prick throughout the movie, and there are a lot of scenes to establish it for the viewers. That's until we get to know his character in the third act. It doesn't make him right for his wrong doings, but he gets the respect for his dedication as a magician. The whole Tesla plotline might feel like a convenient plot device, but Tesla is a scientist who is rumoured to travel through time. So, that is quite justifiable. Hugh Jackman has given a solid performance. This must go down as his best performances with those of "Prisoners" (2013) and "Logan" (2017). He is completely out of his public persona of Wolverine. He is the best possible choice for Wolverine imo, but reminder of Wolverine every time he appears on screen isn't so adorable. He didn't remind me of Wolverine at all, in this movie. But, the major highlight of the movie would be Christian Bale. He has given a terrific performance. You don't even get a hint at the complexity of the character he is portraying. It's after the reveal and in fact, in the second viewing that you start noticing the actual stuffs and the actual interpretations a particular scene is to be given. All in all, it's a fantastic movie. The way obsession play out to be the main theme, the way broken timelines are used for storytelling and the way the final twist is revealed - simply excellent. It gets a special "10/10" and an "A+".
1,286 Reviews
Just As Intriguing The Second Time, Too!
ccthemovieman-129 September 2008
I've seen this film twice now - about a year ago and then yesterday - and thoroughly enjoyed it both times, even the second time when I remembered some of those fantastic twists in the last half hour. Sometimes it's even more fun to view a film like this when you know a few things, because earlier scenes take on new meaning.
It's not an easy film to totally digest, even with two viewings, because that ending has some mind-boggling revelations. Without having to resort to spoilers, let me just say the story is extremely interesting, the acting very good, the period pieces fun to view and it's a pretty clean movie so grandma can also enjoy it, too, without language or sex concerns.
Basically, it's a story about obsession between two magicians in the last decade of the 19th century. They continually try to top one another and things get nasty along the way. Hugh Jackman and Christian Bale are both fun to watch in those roles, as are Michael Caine and Scarlett Johansson in supporting roles.
This is one movie guaranteed to have you thinking about it when it's over!
It's not an easy film to totally digest, even with two viewings, because that ending has some mind-boggling revelations. Without having to resort to spoilers, let me just say the story is extremely interesting, the acting very good, the period pieces fun to view and it's a pretty clean movie so grandma can also enjoy it, too, without language or sex concerns.
Basically, it's a story about obsession between two magicians in the last decade of the 19th century. They continually try to top one another and things get nasty along the way. Hugh Jackman and Christian Bale are both fun to watch in those roles, as are Michael Caine and Scarlett Johansson in supporting roles.
This is one movie guaranteed to have you thinking about it when it's over!
Storytelling at its best!
Surecure21 October 2006
The Prestige is a masterful exercise in storytelling with superb direction and powerful performances by a grand ensemble cast. From set and production design to cinematography, from script to presentation, Christopher Nolan has once again demonstrated why he is one of the film world's brightest up and coming directors. The Prestige only helps solidify his standing as one of the landmark directors of his generation.
Told in a narrative that jumps between various points along its time line, playing out like a magic act itself, the story is that of two magicians on the rise in their careers. The first -- played by Christian Bale -- is an expert in understanding the fundamentals of any trick, but lacks showmanship. The second -- played by Hugh Jackman -- is a master showman who is more entertaining than technical. A tragic series of events pits the two performers against each other in a battle of wits that spirals further and further out of control, consuming both of them and everything and everyone they care about.
With a story that requires actors with a great deal of emotive range, Nolan has assembled what could be described as a dream cast. Both Bale and Jackman suit their respective roles perfectly, and pitting these two performers against each other was a stroke of casting genius. Michael Caine takes what could have been a forgettable role by any lesser actor and elevates it with his demanding screen presence. Probably the most surprising performance comes from David Bowie whose unforgettable turn as master physicist Nikola Tesla absolutely shines. Add Andy Serkis to the mix, and what is assembled is a group of performers who know how to fully engage the audience.
The Prestige is hard to pigeonhole into any specific genre as it walks the fine line between mystery, drama, suspense and fantasy. In that, the story becomes a never-ending stream of wonder for the mind: one can never tell exactly where the story is going to lead next, becoming more and more as time goes on. This gives Christopher Nolan ample opportunity to play. And play he does. With narration by several characters, each adding their own viewpoint to the events, and with a direction that moves between time to mystify and distract, the end result is a climax that itself is a series of puzzles that each unravel beautifully.
The only major criticisms that can be leveled at the Prestige are a confusing play with the seasons during Tesla's introduction (winter suddenly becomes spring/summer and back again) and a strange choice of music for the closing credits (a pop song at the end of a film such as this seems tacky). However, neither is significant enough of a problem to warrant any need to avoid the film at all.
In the end, the Prestige is a fantastic display of what can be accomplished when you bring together superior talent. It is certainly worth the price of admission and as good as any magic show you are to come across.
Told in a narrative that jumps between various points along its time line, playing out like a magic act itself, the story is that of two magicians on the rise in their careers. The first -- played by Christian Bale -- is an expert in understanding the fundamentals of any trick, but lacks showmanship. The second -- played by Hugh Jackman -- is a master showman who is more entertaining than technical. A tragic series of events pits the two performers against each other in a battle of wits that spirals further and further out of control, consuming both of them and everything and everyone they care about.
With a story that requires actors with a great deal of emotive range, Nolan has assembled what could be described as a dream cast. Both Bale and Jackman suit their respective roles perfectly, and pitting these two performers against each other was a stroke of casting genius. Michael Caine takes what could have been a forgettable role by any lesser actor and elevates it with his demanding screen presence. Probably the most surprising performance comes from David Bowie whose unforgettable turn as master physicist Nikola Tesla absolutely shines. Add Andy Serkis to the mix, and what is assembled is a group of performers who know how to fully engage the audience.
The Prestige is hard to pigeonhole into any specific genre as it walks the fine line between mystery, drama, suspense and fantasy. In that, the story becomes a never-ending stream of wonder for the mind: one can never tell exactly where the story is going to lead next, becoming more and more as time goes on. This gives Christopher Nolan ample opportunity to play. And play he does. With narration by several characters, each adding their own viewpoint to the events, and with a direction that moves between time to mystify and distract, the end result is a climax that itself is a series of puzzles that each unravel beautifully.
The only major criticisms that can be leveled at the Prestige are a confusing play with the seasons during Tesla's introduction (winter suddenly becomes spring/summer and back again) and a strange choice of music for the closing credits (a pop song at the end of a film such as this seems tacky). However, neither is significant enough of a problem to warrant any need to avoid the film at all.
In the end, the Prestige is a fantastic display of what can be accomplished when you bring together superior talent. It is certainly worth the price of admission and as good as any magic show you are to come across.
Outstanding acting performances worth price of admission
iohefy-216 October 2006
I went to see a critics preview of The Prestige this afternoon and to my surprise I found the film to be one of the best I have seen all year so far, and that writers can come up with an excellent script it they would only try a little harder. The acting performances by Hugh Jackman, Christian Bale and Michael Caine were the best I have see in a long while. The only objection I had to the film was that it was a little long, but once you leave the theater you will discuss the film and it many twists and turns. My wife and myself discussed it all the way home from the movie theater. This is a winner and should be up for some academy award statues, and my recommendation is go see this as soon as you can, you will not be disappointed.
A Nutshell Review: The Prestige
DICK STEEL20 October 2006
I've said it before, but I'll say it again. Christopher Nolan can do no wrong. Teaming up again with his Batman Begins cast of Christian Bale and Michael Caine, and joined with the Scoop team consisting of X-Men's Wolverinie Hugh Jackman and Scarlett Johansson, the stellar (eye candy) cast already set tongues wagging as to whether they'll be able to live up to the hype of Nolan's long awaited movie directly challenging the other picture about Victorian magicians, The Illusionist. The Prestige is the third act of any magic trick, with the first and second acts being the Pledge and the Turn. And this movie lives up to its namesake to a T. The way the movie plays out, it's like a huge magic trick, with the audience waiting to see how it unfolds, getting the suspicion on how it's done, but yet sitting through it thorough engaged to discover how everything will be revealed and resolved. It tells the story of how two magicians, fellow apprentices turned unfortunate rivals, plod down the slow path of jealous obsession, revenge, and the deliberate attempts to go at lengths to steal each other's ideas, to go one up against the other, a fight in romance, life and the long held passionate drive to discredit each other. There are perfect explanations of the value of secrets, and how secrets can sometimes be used as tools for deceit. What I thought was valuable in the movie was the reinforcement of the notion of how "magic" actually worked. Besides the better understanding of the common body of scientific knowledge, things like having pretty assistants to distract, and having planted staff amongst the audience, somehow made me a sceptic to tricks and illusions, and try harder to spot at which stage had things undergone a sleight of hand. More importantly, it introduced me to the notion and importance of a loyal engineer behind the scenes who designs elaborate contraptions solely for the magician's use, and how having disloyal staff can indeed be detrimental to any leaks of secrets. And Michael Caine took on this engineering role as Cutter, responsible for assisting Rupert Angier (Hugh Jackman) with loyalty and conviction that they could, as a team, beat Christian Bale's Alfred Borden. I thought the cast in general were superb, with Christian Bale leading the charge. Hugh Jackman too showed that he could play a dark character, as the two leads tackled their characters' theme of sacrifice, arrogance, and ultimately redemption, especially for Rupert Angier. I thought he did what he did towards the end was a kind of penance to what happened in the beginning, hoping to kill two birds with a single stone, to exact the sweetest revenge he could possibly muster. What also was intriguing about the two lead characters was that there is no right or wrong, no hero or villain. It's always a shade of grey in what they do, and for Alfred Borden, I felt it's more for survival and the provision for family, which is a strong subplot running through the film. I just have to mention though, that Scarlett Johansson being Esquire's Sexiest Woman Alive, gets to play a flower vase role here as a magician's assistant, though her role as the pawn between the rivals added a little gravitas. The atmosphere was set up great, and so were the costumes and sets. The soundtrack was hauntingly mesmerizing, capturing the look and mood appropriately. Look out too for David Bowie's appearance as a Serbian scientist! I was floored by the deftness of how Nolan weaved and juxtaposed the non linear narrative so flawlessly. While the usual techniques is to use placeholders, or flashback sequences, colours etc, here, time is so fluid, but yet the audience will know precisely which era they're in, without being explicitly told, or working too much of the noodle. You just know, and it's just that feeling of being totally transparent with time. Even though the movie clocked in at slightly more than 2 hours, you don't feel its length at all. At the end of the movie, one quote popped into mind: Misdirection - what the eyes see and the ears hear, the mind believes. Quite apt to describe how things work out during the movie, or to describe in general, Nolan 's films so far. That added richness to lift the movie to a superior plane. Do yourself a favour, if there's one movie you absolutely must watch this week, then Prestige must be your natural choice. It's smart in delivery and slick in presentation. There is none other. P.S. Is it just me, or are notebooks a common feature in Nolan's movies?
One of the best movies EVER
UrbanFilmCritic19 October 2006
What makes this movie so incredible is that while it is indeed a movie about magicians (or illusionists) it is also a complex character study about how self destructive obsessions are with a sideline love story and a sci-fi twist. A unique plot with an amazing cast--any of whom could believably garner an Oscar nomination. Christian Bale was amazing in one of his rare cockney performances. We already know from Kate and Leopold how well Hugh Jackman plays a distinguished English gent. He's absolutely priceless. Is there any point in discussing Sir Michael Caine? He brings polish to the movie.
This is the kind of flick that you can discuss for weeks after. The plot is so detailed and complete and open to interpretation. My friend and I have been discussing various nuances of this film for the past 3 weeks. It definitely stays with you.
This is the kind of flick that you can discuss for weeks after. The plot is so detailed and complete and open to interpretation. My friend and I have been discussing various nuances of this film for the past 3 weeks. It definitely stays with you.
Great entertainment, though it pigeonholes itself there
benm-4175113 February 2018
This movie is very engaging and intriguing. You are presented with a complete mess of scenes which go back and forth through time and are needlessly confusing, yet the core story and the characters were compelling enough to keep me interested and paying attention. The cinematography, the sound, the acting, and the visual elements are all perfectly in place, and overall its very entertaining.
My only concern is that the film prevents itself from achieving greatness by relying heavily on a very cheap, shallow plot element. It becomes science fiction, which is fine but a bit strange after spending so long convincing me the characters are real. This is something I find with all of Nolan's movies, that they present themselves as being mysterious and secretive but fall a little flat if you apply any brain power to them.
Still, I think this movie is worth watching if you're looking for something a little suspenseful, a little creepy, and very entertaining. Maybe the movie's ultimate goal is the same as a magician's, as said in the movie: that one moment where the audience is in awe and disbelief.
My only concern is that the film prevents itself from achieving greatness by relying heavily on a very cheap, shallow plot element. It becomes science fiction, which is fine but a bit strange after spending so long convincing me the characters are real. This is something I find with all of Nolan's movies, that they present themselves as being mysterious and secretive but fall a little flat if you apply any brain power to them.
Still, I think this movie is worth watching if you're looking for something a little suspenseful, a little creepy, and very entertaining. Maybe the movie's ultimate goal is the same as a magician's, as said in the movie: that one moment where the audience is in awe and disbelief.
Amazing! twist after twist!
Faisala22 October 2006
I have to say this is one of the best movies i have seen this year, i was not expecting it to be that good. There's twist after twist, and when you think there is no more, there will be. Great performances and ever better plot. I highly recommend this movie to all ages.
New idea for a movie, and they succeeded it at it greatly. It will have you thinking every time you see a magician on TV!
i had to give this movie a 10/10, and i only have 4 movies that i would rate that way in my life time. If there is anything you do this year, make it a trip to watch this movie!
I hope you enjoy it as much as i did.
New idea for a movie, and they succeeded it at it greatly. It will have you thinking every time you see a magician on TV!
i had to give this movie a 10/10, and i only have 4 movies that i would rate that way in my life time. If there is anything you do this year, make it a trip to watch this movie!
I hope you enjoy it as much as i did.
"The Prestige" starts well but cheats with its own premise...
ElMaruecan8225 May 2018
There are many kinds of magic: wizardry à la 'Harry Potter', illusions or hallucinations, or entertaining shows: mediums, rabbits in top-hats, women sawed in half, bag-content guessing, magic cards etc.
Speaking of cards, Christopher Nolan's "Prestige", made between two 'Batman' movies, lays its cards at the first voice-over monologue where we immediately recognize Michael Caine's smooth voice. It's about the third kind of magic and provides the three structural rules of an act: it starts with the Pledge: you show something normal then the Turn, you make it do something extraordinary... but there's an element of expectation and the higher your reputation goes, the more sophisticated the public. In fact, there's got to be something unpredictable, so it all comes down to the Prestige, the trick no one sees coming and will earn magicians applauses and guess what? prestige.
Then, the least you can expect from the film is to follow these three rules even in the loosest possible way if it means wowing you with a spectacular surprise. And given that it's a Nolan film about the deadly art of illusion, much more opening with the killing of a magician, the imprisonment of his rival whom everything accuses, your twist-radar is set from the start, so not any twist will do. Whatever the prestige will be, if it's not venturing in the realm of feasibility, something will have been missed. We're dealing with magic after all, not fantasy, not sci-fi. I insist on the sci-fi element because the film opens with some electrical contraption that shakes its credibility from the start until a reassuring trap door shows and we can let a sight of relief go.
French called electricity a Fairy so it all makes sense that magicians would use it as a device for generating illusion, just like rivals Edison and Tesla were perceived as wizards. After all, it's also established that magic is about what you see and what you don't and the use of lights and darkness is integral to the act. Still, I didn't like that machine. It felt incongruous and weird in a period drama and I was afraid Nolan would end up inserting some Batman-like device. And when he said in the "making of" video that he wanted to portray magic according to his personal vision of film-making, I thought "no kidding?", I'm pretty sure everyone got the parallel, especially when magical acts use special effects worthy of a Spielberg film.
So Nolan gets a little carried away at the end while the first two acts of the movie had really gotten me involved, I mean the escalating rivalry between the two magicians Alfred Bowden (Christian Bale) and Robert Angier (Hugh Jackman) and their attempts to destroy one's act or find one's secret. What Nolan got right is that the rivalry mostly works as a foil to plunge us in the world of magic and know all the tricks. After all, that's the greatest thrill about magic, seeing how it works. For instance, the way a magician puts a dove in a cage and then flattens it to magically making the dove reappear under a handkerchief always made me scratch my head... but in this Dickensian universe where there's no pity for little children, why should there for innocent animals?
The trigger of the rivalry also helps to understand how one of the most famous magic tricks, the "escape from the tank water" that made Houdini's reputation, is indirectly explained. Working as false audience members, Bowden and Angier are assigned to tie the magician's pretty assistant (Piper Perabo), one of them makes the kind of knot that doesn't leave any chance for the poor girl, who happens to be the other's wife. We gather that from then, it's personal. Another pivotal moment occurs when one conceives his masterpiece, an act that consists on getting in a door and coming out of another. He calls it "The Transported Man", for us, it looks like teleportation and it justifies why the rival is devoured by jealousy, although Caine's character can only see one explanation: there must be a double.
At that point of the review, it's impossible to go further without spoiling the film. It's engaging enough to make you forget there's a twist but it's not spoiling the film to say that there's a twist, since it's the essence of magic. You've got to wow the audience with a surprise at the end. With the seemingly death of a character right at the start of the film, the battle to know everyone's tricks and the existence of a double, anyone could reassemble the pieces of the puzzle. But you know Nolan has more than a trick in his sleeve and that's both a blessing and a curse. Granted anticipations are to be toyed a little to be emotionally rewarded, all he had to do was working on the narrative structure to make what we know first a more effective reveal or a shock.
Instead of that, Nolan relied on a far fetched revelation combined with an implementation that destroyed the whole atmosphere built throughout the film. From the start, we follow magicians who are dedicated to their passion, which is good, but the escalation toward sadism and some ends-justifying-the-means means made their whole approach to their art debatable, leaving no room for sympathy. In this cruel battle of wits, women are reduced to disposable pawns (Rebecca Hall and Scarlett Johannsen would get more dimensional roles in a certain Woody Allen's movie).
The first two acts, we can call them 'pledges' and 'turns' are great but then the film goes downhill. One thing for sure, I hated that Tesla Machine, and no offense to David Bowie, but Tesla was quite a handsome fellow whom I doubt spoke with such a heavy British accent. Nolan wanted his film-making to echo magic, but he let the reverse thing operate.
Speaking of cards, Christopher Nolan's "Prestige", made between two 'Batman' movies, lays its cards at the first voice-over monologue where we immediately recognize Michael Caine's smooth voice. It's about the third kind of magic and provides the three structural rules of an act: it starts with the Pledge: you show something normal then the Turn, you make it do something extraordinary... but there's an element of expectation and the higher your reputation goes, the more sophisticated the public. In fact, there's got to be something unpredictable, so it all comes down to the Prestige, the trick no one sees coming and will earn magicians applauses and guess what? prestige.
Then, the least you can expect from the film is to follow these three rules even in the loosest possible way if it means wowing you with a spectacular surprise. And given that it's a Nolan film about the deadly art of illusion, much more opening with the killing of a magician, the imprisonment of his rival whom everything accuses, your twist-radar is set from the start, so not any twist will do. Whatever the prestige will be, if it's not venturing in the realm of feasibility, something will have been missed. We're dealing with magic after all, not fantasy, not sci-fi. I insist on the sci-fi element because the film opens with some electrical contraption that shakes its credibility from the start until a reassuring trap door shows and we can let a sight of relief go.
French called electricity a Fairy so it all makes sense that magicians would use it as a device for generating illusion, just like rivals Edison and Tesla were perceived as wizards. After all, it's also established that magic is about what you see and what you don't and the use of lights and darkness is integral to the act. Still, I didn't like that machine. It felt incongruous and weird in a period drama and I was afraid Nolan would end up inserting some Batman-like device. And when he said in the "making of" video that he wanted to portray magic according to his personal vision of film-making, I thought "no kidding?", I'm pretty sure everyone got the parallel, especially when magical acts use special effects worthy of a Spielberg film.
So Nolan gets a little carried away at the end while the first two acts of the movie had really gotten me involved, I mean the escalating rivalry between the two magicians Alfred Bowden (Christian Bale) and Robert Angier (Hugh Jackman) and their attempts to destroy one's act or find one's secret. What Nolan got right is that the rivalry mostly works as a foil to plunge us in the world of magic and know all the tricks. After all, that's the greatest thrill about magic, seeing how it works. For instance, the way a magician puts a dove in a cage and then flattens it to magically making the dove reappear under a handkerchief always made me scratch my head... but in this Dickensian universe where there's no pity for little children, why should there for innocent animals?
The trigger of the rivalry also helps to understand how one of the most famous magic tricks, the "escape from the tank water" that made Houdini's reputation, is indirectly explained. Working as false audience members, Bowden and Angier are assigned to tie the magician's pretty assistant (Piper Perabo), one of them makes the kind of knot that doesn't leave any chance for the poor girl, who happens to be the other's wife. We gather that from then, it's personal. Another pivotal moment occurs when one conceives his masterpiece, an act that consists on getting in a door and coming out of another. He calls it "The Transported Man", for us, it looks like teleportation and it justifies why the rival is devoured by jealousy, although Caine's character can only see one explanation: there must be a double.
At that point of the review, it's impossible to go further without spoiling the film. It's engaging enough to make you forget there's a twist but it's not spoiling the film to say that there's a twist, since it's the essence of magic. You've got to wow the audience with a surprise at the end. With the seemingly death of a character right at the start of the film, the battle to know everyone's tricks and the existence of a double, anyone could reassemble the pieces of the puzzle. But you know Nolan has more than a trick in his sleeve and that's both a blessing and a curse. Granted anticipations are to be toyed a little to be emotionally rewarded, all he had to do was working on the narrative structure to make what we know first a more effective reveal or a shock.
Instead of that, Nolan relied on a far fetched revelation combined with an implementation that destroyed the whole atmosphere built throughout the film. From the start, we follow magicians who are dedicated to their passion, which is good, but the escalation toward sadism and some ends-justifying-the-means means made their whole approach to their art debatable, leaving no room for sympathy. In this cruel battle of wits, women are reduced to disposable pawns (Rebecca Hall and Scarlett Johannsen would get more dimensional roles in a certain Woody Allen's movie).
The first two acts, we can call them 'pledges' and 'turns' are great but then the film goes downhill. One thing for sure, I hated that Tesla Machine, and no offense to David Bowie, but Tesla was quite a handsome fellow whom I doubt spoke with such a heavy British accent. Nolan wanted his film-making to echo magic, but he let the reverse thing operate.
Webby meshwork of magic and mystery
Flagrant-Baronessa27 December 2006
Director Christopher Nolan has a proclivity for warped narratives (Memento) and in The Prestige he serves up a deliciously twisty tale, puffed full of magic theatricality and inventive cinematic devices. With his remarkably sleight-of-hand direction, he spins the tale of two rivaling magicians in Victorian-era London, creating a cerebrally stimulating 2 hour long mise-en-scene in which the audience is literally left guessing and gasping at its rare uniqueness through magic acts and bitter behind-the-stage intrigue.
The final pay-off of any magic act the prestige is of the essence, and preluding it is the pledge, followed by the turn. Together these three key components are slotted in unique positions in 'The Prestige's arrestingly clever script but it is the titular act that propels the film. The pledge introduces our main characters: magicians Alfred Borden (Christian Bale) and Robert Angier (Hugh Jackman) in turn-of-the-century London and we see how their friendship abruptly becomes a fully-fledged rivalry and hostility with a magic act gone horribly wrong in front of an audience. There is a death, and it lights the fuse of an onslaught of reel revelations and the one-upmanship that will ensue between the two competitors. 'The turn' comes to offers twists by the bucketload in the form of love-interests, and technologically marvelous magic acts. I gasped, I scratched my head, I watched on in awe. No description will do it justice.
The prestige as the end note to the show in which, for example, the disappearer reappears to the deafening applause of the crowd is so meticulously composed in the film through foreshadowing and fractured chronology that rigorously intersects, intertwines, intercuts, fast-forwards, rewinds and replays key parts of the story that the whole spectacle floors you. Christopher Nolan and his brother Jonathan have worked out a template script that is more twisty and turny than a mountain road and for that reason I am very reluctant to spoil even the slightest detail of the story of 'The Prestige' of all of its acts, in fact. If you are shaking your head thinking a clever twist ending does not make the movie (and I agree), know that this is not a "gotcha"-kind of Shyamalan trick where you want to stop the film, rewind it and watch it meticulous foreshadowing up to the cheap pay-off, but a tightly-written ever-shifting hall of mirrors with so many intrinsic twists that on your way home you will still be scratching you head and searching for clues.
Our two magicians are perfectly-cast with Hugh Jackman capturing the showy, slick, ambition-driven nature of his character Angier in contrast to Bale's technique-driven purist who may be well on his way to perfecting the craft, but lacks the 'Abracadabra' entertainment value. I had always crowned the latter the more capable actor of the two, but the fact is that Jackman performs just as well in the film. Having said that, Borden has more layers to his complex, contradictory (keyword) persona than the flashy, greedy Angier which perhaps begs more weight from the actor behind the role, shifting more demand on Christian Bale. The sad fact of it is that neither of these two men are likable characters and elicit nothing more than temporary sympathy. However, the secrecy with which the intricate story approaches them makes it impossible for the viewer to slot them in protagonist vs. antagonist positions, and indeed they are given almost the exact same screen-time and voice-over narration throughout, a subtle and brilliant accolade of Nolan's.
To further evaluate the cast of The Prestige, David Bowie and Michael Caine undoubtedly merit a great deal of praise for supporting the two moody, unlikeable leading men. It is a crying shame then that Scarlett Johansson always an incapable actress except for the rare occasions in which she plays a sultry American vixen (Match Point) performs so badly in the role of Olivia Wenscombe, a magic assistant pending between Borden and Angier. Here she is actually given a very good and important character who is not necessarily bad like the rest, but botches her interpretation by giving an unspeakably hammy London accent. Nolan picks up on her shortcomings as an actress, and resorts to boob-shots en masse. This he should be fully entitled to do as a director, for a beautiful diversion will always camouflage the process and any of its potential missteps, as Michael Caine's character puts forward.
With Scarlett as a pleasurable paint-job, twists by the bucket-load and flashy magic tricks as windowdressing to a solid mystery film, there is little or no need to delve deeper into the psyches of its characters to keep our attention. Yet this is done, and superbly so, by Christopher Nolan. 'Antihero' gets a whole new spin to it in The Prestige with two friends-turned-rivals so bitterly poised on the brink of obsession of outshining the other that succeeding with the ultimate 'prestige' of magic followed by applause is enough to drive them to murder, bankruptcy, deceit and sabotage. Borden simply wants to be better on a technical level, while Angier wants the public's recognition and wide-spread fame. Their ambition is in effect largely the same: create the definitive deceptive illusion and do it through any means necessary.
'The Prestige' is a majestic film that nevertheless spans across too long a running time. Condensation would have done wonders and surely bumped it up a notch, as would underpinning some humour at one or two points (it is VERY gloomy), but it truly is a great cinematic achievement and a shoe-in for my top 10 of 1006, and easily the most inventive film I have seen in years. I am eagerly anticipated director Christopher Nolan's next sleight-of-hand direction, and it looks like the closest is The Dark Knight (2008).
9 out of 10
The final pay-off of any magic act the prestige is of the essence, and preluding it is the pledge, followed by the turn. Together these three key components are slotted in unique positions in 'The Prestige's arrestingly clever script but it is the titular act that propels the film. The pledge introduces our main characters: magicians Alfred Borden (Christian Bale) and Robert Angier (Hugh Jackman) in turn-of-the-century London and we see how their friendship abruptly becomes a fully-fledged rivalry and hostility with a magic act gone horribly wrong in front of an audience. There is a death, and it lights the fuse of an onslaught of reel revelations and the one-upmanship that will ensue between the two competitors. 'The turn' comes to offers twists by the bucketload in the form of love-interests, and technologically marvelous magic acts. I gasped, I scratched my head, I watched on in awe. No description will do it justice.
The prestige as the end note to the show in which, for example, the disappearer reappears to the deafening applause of the crowd is so meticulously composed in the film through foreshadowing and fractured chronology that rigorously intersects, intertwines, intercuts, fast-forwards, rewinds and replays key parts of the story that the whole spectacle floors you. Christopher Nolan and his brother Jonathan have worked out a template script that is more twisty and turny than a mountain road and for that reason I am very reluctant to spoil even the slightest detail of the story of 'The Prestige' of all of its acts, in fact. If you are shaking your head thinking a clever twist ending does not make the movie (and I agree), know that this is not a "gotcha"-kind of Shyamalan trick where you want to stop the film, rewind it and watch it meticulous foreshadowing up to the cheap pay-off, but a tightly-written ever-shifting hall of mirrors with so many intrinsic twists that on your way home you will still be scratching you head and searching for clues.
Our two magicians are perfectly-cast with Hugh Jackman capturing the showy, slick, ambition-driven nature of his character Angier in contrast to Bale's technique-driven purist who may be well on his way to perfecting the craft, but lacks the 'Abracadabra' entertainment value. I had always crowned the latter the more capable actor of the two, but the fact is that Jackman performs just as well in the film. Having said that, Borden has more layers to his complex, contradictory (keyword) persona than the flashy, greedy Angier which perhaps begs more weight from the actor behind the role, shifting more demand on Christian Bale. The sad fact of it is that neither of these two men are likable characters and elicit nothing more than temporary sympathy. However, the secrecy with which the intricate story approaches them makes it impossible for the viewer to slot them in protagonist vs. antagonist positions, and indeed they are given almost the exact same screen-time and voice-over narration throughout, a subtle and brilliant accolade of Nolan's.
To further evaluate the cast of The Prestige, David Bowie and Michael Caine undoubtedly merit a great deal of praise for supporting the two moody, unlikeable leading men. It is a crying shame then that Scarlett Johansson always an incapable actress except for the rare occasions in which she plays a sultry American vixen (Match Point) performs so badly in the role of Olivia Wenscombe, a magic assistant pending between Borden and Angier. Here she is actually given a very good and important character who is not necessarily bad like the rest, but botches her interpretation by giving an unspeakably hammy London accent. Nolan picks up on her shortcomings as an actress, and resorts to boob-shots en masse. This he should be fully entitled to do as a director, for a beautiful diversion will always camouflage the process and any of its potential missteps, as Michael Caine's character puts forward.
With Scarlett as a pleasurable paint-job, twists by the bucket-load and flashy magic tricks as windowdressing to a solid mystery film, there is little or no need to delve deeper into the psyches of its characters to keep our attention. Yet this is done, and superbly so, by Christopher Nolan. 'Antihero' gets a whole new spin to it in The Prestige with two friends-turned-rivals so bitterly poised on the brink of obsession of outshining the other that succeeding with the ultimate 'prestige' of magic followed by applause is enough to drive them to murder, bankruptcy, deceit and sabotage. Borden simply wants to be better on a technical level, while Angier wants the public's recognition and wide-spread fame. Their ambition is in effect largely the same: create the definitive deceptive illusion and do it through any means necessary.
'The Prestige' is a majestic film that nevertheless spans across too long a running time. Condensation would have done wonders and surely bumped it up a notch, as would underpinning some humour at one or two points (it is VERY gloomy), but it truly is a great cinematic achievement and a shoe-in for my top 10 of 1006, and easily the most inventive film I have seen in years. I am eagerly anticipated director Christopher Nolan's next sleight-of-hand direction, and it looks like the closest is The Dark Knight (2008).
9 out of 10
The Prestige
auuwws17 February 2021
Great movie and best movie I've seen directed by Christopher Nolan. The story of the movie was great and I did not expect the end. Most of the film's characters were excellent, and Tesla's appearance in the film was excellent. The acting was excellent, especially from Hugh Jackman and Christian Bale who were dazzling in the film, the film embodies the period of the end of the nineteenth century, a great film.
Give This Film Time to Sink In...
gavin694228 October 2006
Leaving the theater, I thought the film was just okay. An hour later, I thought it was pretty clever. And now, the next day, I think it was amazing. Why the change? It took that long for most or all of the subtle hints to sink in and the real twists to be discovered. The film doesn't end when you leave, it begins.
The story is the tale of two magicians in a bitter rivalry, always trying to do a better trick than the other and trying to sabotage the other's success. At least, that's what you think the story is until you finally see "the prestige".
I can't discuss much of this film because giving almost anything at all away would ruin some of the fun. But a few notes: Christian Bale, as always is awesome. An incredible actor with a wide range and screen appeal. Christopher Nolan works well with him (see "Batman Begins") and I hope they continue this Burton-Depp relationship they have. I foresee only greatness.
Hugh Jackman is also spectacular, probably giving the most diverse performance in the film, easily the most demanding. And he does this convincingly.
Scarlett Johannson is Scarlett Johannson... if you've liked her before, you should like her here (though her role never really gets the full story it needs). And David Bowie... wow, he is so much better than "Labrynth" would have you believe.
The visuals are stunning, but the real credit goes to the makeup department, who deserve an Oscar for this picture. Outside of horror films where extensive makeup is often required, this film probably does more to change the actors' appearances than any other film I've ever seen. And I was going along with the ride the whole time.
If you see one film from 2006, see "The Departed". But if you see two, "The Prestige" better be on your list.
The story is the tale of two magicians in a bitter rivalry, always trying to do a better trick than the other and trying to sabotage the other's success. At least, that's what you think the story is until you finally see "the prestige".
I can't discuss much of this film because giving almost anything at all away would ruin some of the fun. But a few notes: Christian Bale, as always is awesome. An incredible actor with a wide range and screen appeal. Christopher Nolan works well with him (see "Batman Begins") and I hope they continue this Burton-Depp relationship they have. I foresee only greatness.
Hugh Jackman is also spectacular, probably giving the most diverse performance in the film, easily the most demanding. And he does this convincingly.
Scarlett Johannson is Scarlett Johannson... if you've liked her before, you should like her here (though her role never really gets the full story it needs). And David Bowie... wow, he is so much better than "Labrynth" would have you believe.
The visuals are stunning, but the real credit goes to the makeup department, who deserve an Oscar for this picture. Outside of horror films where extensive makeup is often required, this film probably does more to change the actors' appearances than any other film I've ever seen. And I was going along with the ride the whole time.
If you see one film from 2006, see "The Departed". But if you see two, "The Prestige" better be on your list.
Fantastic!
orko_dutta13 July 2019
The final reveal in a magic trick is the most thrilling experience. So is that of this movie. The Prestige is a masterful exercise in storytelling with superb direction and powerful performances. I was floored by the deftness of how Nolan weaved and juxtaposed the non linear narrative so flawlessly. What makes this movie so incredible is that while it is indeed a movie about magicians (or illusionists) it is also a complex character study about how self destructive obsessions are with a sideline love story and a sci-fi twist - very unique.
fascinating
Kirpianuscus26 January 2016
a film about magic at different levels. the magic as art. the magic as axis of life. art as only way to survive. beautiful, mysterious, ambiguous and almost impeccable. in fact, brilliant job. and this status is result of delicate-precise mixture of acting, impeccable story, splendid atmosphere and the feeling than competition escapes from the screen. a seductive detail - David Bowie as Nikola Tesla, a role who gives to film a special flavor. at first sigh, story of a cruel fight for success. or a portrait of manipulation art. in fact, fresco of a time. and one of admirable roles for Christian Bale and Hugh Jackman.
This was an amazing movie!
Julia-Dempster20 October 2006
This was the best movie I have seen in at least the past two years. Most movies have me leave the theater feeling like I wasted 8 dollars or so. So many movies lately have left me feeling like I wasted away precious hors of my life that could have been spent doing better things. Yet this movie was truly a masterpiece and kept me guessing the whole time. The acting was superb and so was the plot. I usually can predict the outcomes of movies pretty early on. And usually I can see the twist the writer planned. With this movie I was still left wondering into the last 5 minutes of the movie. I can't wait to own this on DVD.
Batman and Alfred (outside Gotham) meet Wolverine
lee_eisenberg29 December 2008
In between the Batman movies, Christopher Nolan cast Christian Bale and Michael Caine in "The Prestige". It tells the story of magicians Alfred Borden (Bale) and Robert Angier (Hugh Jackman). Initially partners, they had a falling out and became rivals. From there the movie becomes a battle of wits, showing how the men have no aim except to destroy the other. Caine plays John Cutter, the state engineer who works for Angier.
I notice similarities between this movie and some of Nolan's others. There's the non-linear plot, like "Memento"; one-upmanship, like "Insomnia"; the question of morality, like in "The Dark Knight". But what impressed me more than anything was all the stuff about magic tricks, how the characters use the tricks against each other, and how they both use Olivia Wenscombe (Scarlett Johansson). Angier's and Borden's rivalry mirrors Nikola Tesla's (David Bowie) rivalry with Thomas Edison.
All in all, I recommend this movie. It's both a look into the world of magic tricks, and also the dangers of obsession with revenge. Also starring Andy Serkis (Gollum in the LOTR movies) and Ricky Jay (a real-life magician).
PS: other 2006 movies dealing with magic tricks are "The Illusionist" and "Scoop" (also starring Hugh Jackman and Scarlett Johansson).
I notice similarities between this movie and some of Nolan's others. There's the non-linear plot, like "Memento"; one-upmanship, like "Insomnia"; the question of morality, like in "The Dark Knight". But what impressed me more than anything was all the stuff about magic tricks, how the characters use the tricks against each other, and how they both use Olivia Wenscombe (Scarlett Johansson). Angier's and Borden's rivalry mirrors Nikola Tesla's (David Bowie) rivalry with Thomas Edison.
All in all, I recommend this movie. It's both a look into the world of magic tricks, and also the dangers of obsession with revenge. Also starring Andy Serkis (Gollum in the LOTR movies) and Ricky Jay (a real-life magician).
PS: other 2006 movies dealing with magic tricks are "The Illusionist" and "Scoop" (also starring Hugh Jackman and Scarlett Johansson).
Christopher Nolan is the real magician
L-l-778911 February 2024
The Prestige is about rivaling magicians trying to "out-illusion" each other with the ultimate magic trick. But really you are the one who feels like you are being tricked, this film has plot twists from start to finish and each one is even more shocking than the last. By the end you will want to rewatch it 100 times to follow along with all the tricks. It is the kind of film that you will not want to miss a single second of so you don't miss anything. The real magician of this film is Christopher Nolan, who created a deceptive story, a visually amazing film, and got an amazing cast to bring the illusion to life.
Best movie ever
into-the-void15 August 2019
Imaginative and intriguing crash of wits between two famous magicians
ma-cortes9 December 2008
This enjoyable and fresh story about intense rivalry among magicians is set in turn-of-the last century, London.Robert Angier(Hugh Jackman) his wife Julie McCullough(Piper Perabo) and Alfred Borden(admirable Christian Bale) are friends and magician's assistants. Then Julie accidentally deceases during a sideshow , Robert accuses Alfred for her killing . A new assistant named Olivia(Scarlett Johansson) helps Robert and he falls in love with her, though later she fell in love with another man. The magicians use their powers to combat among them. Both become prestigious magicians and get mutual envy. Magician Robert sees the Borden's transportation show and he becomes obsessed with his magic trick. They battle each other for their magic tricks and Robert attempts disclose the secret about disappearance from his contender with fateful results.
This splendid movie is stunning in many aspects and blends appropriately various genres: the lush romantic period piece during nineteenth century Victorian Era, mystery thriller and fantasy.The picture gets it all : suspense, mystery drama, star crossed lovers,plot twists, murders,tragedy and supernatural illusions . Featuring an excellent casting, as main actors, Jackman, Bale, Johansson as eclectic secondaries, Caine,David Bowie,Andie Serkis and Rebecca Hall.Luxurious attention to period detail in brilliant costumes and spectacular production design . Beautifully and mesmerizing cinematography by Wally Pfister. Intriguing and evocative musical score by David Julyan. The motion picture is perfectly directed by innovator director Christopher Nolan, author of various masterpieces: ¨ Insomnia,Memento,Batman begins, Dark night¨. At the same time was made another film(2006)with similar theme titled 'The illusionist'by Neal Burger with Edward Norton, Paul Giamatti and Jessica Biel which also achieved much success. Rating : Above average, it was throughly amusing and exciting, and no as predictable as you would think. The film results to be a complete pleasure to watch these actors at this work,it's highly recommended and keep you guessing until final.
This splendid movie is stunning in many aspects and blends appropriately various genres: the lush romantic period piece during nineteenth century Victorian Era, mystery thriller and fantasy.The picture gets it all : suspense, mystery drama, star crossed lovers,plot twists, murders,tragedy and supernatural illusions . Featuring an excellent casting, as main actors, Jackman, Bale, Johansson as eclectic secondaries, Caine,David Bowie,Andie Serkis and Rebecca Hall.Luxurious attention to period detail in brilliant costumes and spectacular production design . Beautifully and mesmerizing cinematography by Wally Pfister. Intriguing and evocative musical score by David Julyan. The motion picture is perfectly directed by innovator director Christopher Nolan, author of various masterpieces: ¨ Insomnia,Memento,Batman begins, Dark night¨. At the same time was made another film(2006)with similar theme titled 'The illusionist'by Neal Burger with Edward Norton, Paul Giamatti and Jessica Biel which also achieved much success. Rating : Above average, it was throughly amusing and exciting, and no as predictable as you would think. The film results to be a complete pleasure to watch these actors at this work,it's highly recommended and keep you guessing until final.
Magic in parts, meh in others
harrylosborne9 May 2021
The first time I watched "The Prestige", I didn't think anything of it whatsoever. However, on reflection, I think it's a film to be taken with a pinch of salt, and not just when regarding the magic.
This movie suffers from two main characters having the thickest plot armour imaginable - making all of their encounters feel inconsequential. This is a fairly severe oversight in an otherwise robust film that does provide intrigue, but still lacks on a fundamental level.
Nolan is one to weave as complex a tale as he can, and here is no different. Starting with a dramatic but unexplained death, the story plots the rivalry between two pioneering magicians: one who prizes showmanship and theatrics, and the other who reveres the art above all else. I prefer Hugh Jackman's performance to Christian Bale's (not something I would normally say), but Bale's feels a bit too abrasive and cynical even for the character design.
What lost me a bit was the whole Nikola Tesla arc, where Nolan tries bridging the gap between illusion and reality. It's all a bit clunky, and whilst I don't particularly see why David Bowie was brought in for the role, I don't see anyone else doing much more with the material either.
The music is fairly minor in the story (not orchestrated by the usual Hans Zimmer), so doesn't elevate the film like in most of Nolan's other projects. Stylistically, there is a faithfulness to 19th century London; period attire is par for the course, but there is a decent finesse to the whole endeavour. The scenes in the USA are the best looking parts, as the scenery across the pond gives a little more scope for artistic license.
Mercifully, Nolan does leave most of the chronology alone, allowing a more rigid story to be told. Towards the end, I did begin to feel a greater sense of attachment - the conflict between the protagonists is palpable - but the romance aspects felt contrived and just like plot padding. I was invested in the finale, and there certainly are dramatic twists and turns, but in my opinion, they require you to accept some flawed storytelling tactics.
"The Prestige" is definitely not one of Nolan's best: whilst it does exhibit shades of what makes his masterpieces so powerful, it also struggles with hurdles that even basic stories should be practically immune to.
Invulnerability breaks immersion, and is one of the issues I had with "Tenet" 15 years later. That alone inhibits this movie from ascending into hallowed ground, condemning it to just being a worthwhile watch.
This movie suffers from two main characters having the thickest plot armour imaginable - making all of their encounters feel inconsequential. This is a fairly severe oversight in an otherwise robust film that does provide intrigue, but still lacks on a fundamental level.
Nolan is one to weave as complex a tale as he can, and here is no different. Starting with a dramatic but unexplained death, the story plots the rivalry between two pioneering magicians: one who prizes showmanship and theatrics, and the other who reveres the art above all else. I prefer Hugh Jackman's performance to Christian Bale's (not something I would normally say), but Bale's feels a bit too abrasive and cynical even for the character design.
What lost me a bit was the whole Nikola Tesla arc, where Nolan tries bridging the gap between illusion and reality. It's all a bit clunky, and whilst I don't particularly see why David Bowie was brought in for the role, I don't see anyone else doing much more with the material either.
The music is fairly minor in the story (not orchestrated by the usual Hans Zimmer), so doesn't elevate the film like in most of Nolan's other projects. Stylistically, there is a faithfulness to 19th century London; period attire is par for the course, but there is a decent finesse to the whole endeavour. The scenes in the USA are the best looking parts, as the scenery across the pond gives a little more scope for artistic license.
Mercifully, Nolan does leave most of the chronology alone, allowing a more rigid story to be told. Towards the end, I did begin to feel a greater sense of attachment - the conflict between the protagonists is palpable - but the romance aspects felt contrived and just like plot padding. I was invested in the finale, and there certainly are dramatic twists and turns, but in my opinion, they require you to accept some flawed storytelling tactics.
"The Prestige" is definitely not one of Nolan's best: whilst it does exhibit shades of what makes his masterpieces so powerful, it also struggles with hurdles that even basic stories should be practically immune to.
Invulnerability breaks immersion, and is one of the issues I had with "Tenet" 15 years later. That alone inhibits this movie from ascending into hallowed ground, condemning it to just being a worthwhile watch.
Magical!!!
Geri_Ivanova7 June 2015
Long ago I watched The Prestige and The Illusionist in the same weekend. Comparisons are odious but it is inevitable for me to think of the second when talking about the first. You want to know why, keep reading.
Magic is present in everybody's childhood, but it is something we lose, as we get older, in part because there are not many movies about magic to watch when you grow up. But if you want to turn the clock back and feel excited about how magicians perform tricks and get some answers about "how it is possible" or "what's the trick", lucky you because there are two movies which will definitely satisfy your curiosity.
Both movies take place in England at the end of the XIX century. They not only have in common their genre, drama-mystery but also a fantastic cast. Edward Norton' remarkable portrayal of Eisenheim in The Illusionist is as memorable as Hugh Jackman and Christian Bales's in the Prestige. The appealing special effects, the convincing costumes and the compelling dialogue; you will enjoy these movies from the beginning to the end.
Although there are several similarities between the two movies their plots are quite different. The Illusionist is, without a doubt, a much more romantic interpretation of the life of a magician. The Prestige, on the other hand portrays the rivalry between two magicians where revenge is the main feeling. The second movie is, indeed, more action-packed but no less moving than The Illusionist.
These two must sees will trap you and will carry you to an enjoyable world full of magic. But if you really love cinema and good stories the one I highly recommended to you is the Illusionist.
Magic is present in everybody's childhood, but it is something we lose, as we get older, in part because there are not many movies about magic to watch when you grow up. But if you want to turn the clock back and feel excited about how magicians perform tricks and get some answers about "how it is possible" or "what's the trick", lucky you because there are two movies which will definitely satisfy your curiosity.
Both movies take place in England at the end of the XIX century. They not only have in common their genre, drama-mystery but also a fantastic cast. Edward Norton' remarkable portrayal of Eisenheim in The Illusionist is as memorable as Hugh Jackman and Christian Bales's in the Prestige. The appealing special effects, the convincing costumes and the compelling dialogue; you will enjoy these movies from the beginning to the end.
Although there are several similarities between the two movies their plots are quite different. The Illusionist is, without a doubt, a much more romantic interpretation of the life of a magician. The Prestige, on the other hand portrays the rivalry between two magicians where revenge is the main feeling. The second movie is, indeed, more action-packed but no less moving than The Illusionist.
These two must sees will trap you and will carry you to an enjoyable world full of magic. But if you really love cinema and good stories the one I highly recommended to you is the Illusionist.
Over-complicated mess of a Nolan
Horror-yo18 May 2016
Christopher Nolan, the co-writer/director, loves to over-complicate his films a lot, especially in his twists in the endings, and counts on the simplicity of the masses to get confused and be called a genius despite failing to deliver in his films' ultimate goals: the twists at the end, because most of his films rely on those heavily to be given any meaning or quality at all. In this fairly long-running drama, Bale (as usual) and Jackman produce high quality performances, and special credit given to Bale's wife in the film and David Bowie (who can really act !); in an otherwise strong cinematography flick. The main issue is that the film builds up a great momentum, with lots of twists and turns, but as we're held in suspense for the grande finale at the end, lots of if not everything that's been mounted before seems to crumble as we discover the truth unfolded in the dying, yes *dying*, moments of this disappointment. It's like the end discredits everything that's been building for long chunks of Nolan produce, like the film shoots itself in the foot (or in the head ?). Too bad. This feels like a great, but it surely isn't.
I love long, dark, well-acted and intelligent films but not this one
sj_elliott20 November 2006
I love a film that doesn't spoonfeed the plot and the story and the interest in it to the audience. This one takes you along if you are smart enough to go and if you are not so dumbed down by most entertainment that you can stay steadily involved.
I wanted to love it to death...it has everything I think a film should have, including a wonderfully rich atmosphere, a great cast and excellent direction. Through most of it, it dares the audience to be intelligent and to have an attention span longer than a fruit fly. It had all the makings of a great film, but I kept looking for (and longing for) the greatness to impact me. It never did.
It fell flat for me by the end. I really didn't care about any of them by then. I wasn't even sure I cared about the little girl. I certainly didn't care how anyone did any of the illusions; I was sick to death of their obsession with each other and just wanted them to move on already. Although there would be no film without it, it all seemed to be 'too much trouble to go through' and obsession is about getting caught up in it...for me, I couldn't get caught up in itnor could I quite get their obsession. Although Iam a big fan of the long, thinking person's film, I have to say I thought it dragged on and on by the end and I just wanted it over. It definitely did not leave me wanting more. I just wanted different.
I had paid attention all along, I was impressed with the film and thought the acting, the cinematography and the direction were all superb. Even though some of the twists seem unnecessary, I thought many were brilliant and I kept trying to will myself to care about it, to care about them, but I didn't.
It was a very good film in a detached sort of "viewing art" way but as far as feeling "wow"'d by the end, not so much.
I wanted to love it to death...it has everything I think a film should have, including a wonderfully rich atmosphere, a great cast and excellent direction. Through most of it, it dares the audience to be intelligent and to have an attention span longer than a fruit fly. It had all the makings of a great film, but I kept looking for (and longing for) the greatness to impact me. It never did.
It fell flat for me by the end. I really didn't care about any of them by then. I wasn't even sure I cared about the little girl. I certainly didn't care how anyone did any of the illusions; I was sick to death of their obsession with each other and just wanted them to move on already. Although there would be no film without it, it all seemed to be 'too much trouble to go through' and obsession is about getting caught up in it...for me, I couldn't get caught up in itnor could I quite get their obsession. Although Iam a big fan of the long, thinking person's film, I have to say I thought it dragged on and on by the end and I just wanted it over. It definitely did not leave me wanting more. I just wanted different.
I had paid attention all along, I was impressed with the film and thought the acting, the cinematography and the direction were all superb. Even though some of the twists seem unnecessary, I thought many were brilliant and I kept trying to will myself to care about it, to care about them, but I didn't.
It was a very good film in a detached sort of "viewing art" way but as far as feeling "wow"'d by the end, not so much.
Christopher Nolan
cinephile_akash6 July 2019
A Great Tale of Rivalry, Obsession, Revenge and Sacrifice
claudio_carvalho28 April 2007
In the end of the Nineteenth Century, in London, Robert Angier (Hugh Jackman), his beloved wife Julia McCullough (Piper Perabo) and Alfred Borden (Christian Bale) are friends and assistants of a magician. When Julia accidentally dies during a performance, Robert blames Alfred for her death and they become enemies. Both become famous and rival magicians, sabotaging the performance of the other on the stage. When Alfred performs a successful trick, Robert becomes obsessed trying to disclose the secret of his competitor with tragic consequences.
"The Prestige" is a great tale of rivalry, obsession, revenge and sacrifice. The unpredictable screenplay has many twists, disclosing unusual situations and hooking the attention of the viewer until the very last scene. Christopher Nolan, after the masterpiece "Memento", offers another excellent movie for the cinema lovers, better and better than the Oscar winner "The Departed". The amazing dispute between the outstanding Christian Bale and Hugh Jackman is supported by the extraordinary Michael Caine and a wonderful cinematography. My vote is nine.
Title (Brazil): "O Grande Truque" ("The Great Trick")
"The Prestige" is a great tale of rivalry, obsession, revenge and sacrifice. The unpredictable screenplay has many twists, disclosing unusual situations and hooking the attention of the viewer until the very last scene. Christopher Nolan, after the masterpiece "Memento", offers another excellent movie for the cinema lovers, better and better than the Oscar winner "The Departed". The amazing dispute between the outstanding Christian Bale and Hugh Jackman is supported by the extraordinary Michael Caine and a wonderful cinematography. My vote is nine.
Title (Brazil): "O Grande Truque" ("The Great Trick")
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
