“L’Illusioniste’s” first act can be likened to the experience of having a puppy lick your hand — it is undeniably endearing and commands your attention unlike anything else.
“L’Illusioniste” is a modern silent film, completely devoid of dialogue (excluding a few unintelligible grunts). The film was written by French mime Jacques Tati, who is known for films such as “Mon Oncle” (1958), and was adapted from Sylvain Chomet’s “Triplett’s of Belville.” The film is said to be a letter to Tati’s estranged daughter.
Those who have seen “Triplett’s of Belville” will immediately notice the directorial stylings of Chomet, and will be able to draw many comparisons between the two films. However, while the beginning of the films may seem very similar in pacing and tone, “L’illusioniste” acquires a melancholy air and becomes its own film.
The film follows an unnamed illusionist as he performs to almost-empty theaters and apathetic audiences. Realizing that work is coming infrequently at best, the illusionist constantly travels to perform. After impressing a very inebriated Scottish man at a wedding, the illusionist is invited to a tiny village in Scotland to perform in a bar to celebrate its acquiring of electricity. The illusionist is greeted with applause and awe, showing the stark contrast between a modern society and a less-developed one, in regards to entertainment, and further cementing the theme that “magic” and the aging magician are past their prime.
While at the bar, the illusionist runs into a young girl named Alice who is enamored by this tall man who can seemingly perform miracles. After the illusionist has performed, he leaves for Edinburgh, but not before capturing Alice’s heart —she stows away on his boat to follow what she believes is a man with magical powers.
After discovering her intrusion, the illusionist allows her to tag along, because it provides him company and someone who still has the tepid innocence required for magic tricks. As the film progresses, “L’Illusioniste” shows both characters beginning to face the impending reality that is confronting them, creating an ending that is piercingly realistic, and a demonstration that “coming of age” stories can happen to anyone.
Knowing that this film was meant to reach out to someone, makes “L’illusioniste” is a much more poignant and meaningful drama. Without that knowledge, the film would be a depressing work of art that is pretty to look at, but lacks a purpose.
The silent aspect of the film makes it at times hard to follow, but commands the viewer’s undivided attention to catch the body language and the inferred symbols displayed throughout film. “L’illusioniste” does have some ambiguous aspects that the viewer is supposed to pick up on, but will likely leave some confused and scrambling to catch up.
Even without dialogue, the tangibility of the illusionist’s and the girl’s pain can at times be overwhelming, showing that words are not needed to effectively communicate emotion. The silence aspect plays in its favor, making the film much more subtle and giving it a more poetic feel.
Though it’s a solid film, “L’illusioniste” is certainly not for everyone. Many will find its message too gloomy and the pacing of the film very sluggish. However, if you enjoyed “Triplett’s of Belville” and want to see another quality Chomet creation, (though certainly not in the same league as “Triplett’s”) then “L’illusioniste” is certainly worth your time.