The Prestige

Posted by James Schu (jgs210@psu.edu) on March 6, 2007

Ask a magician to categorize his profession, and he’s likely to tell you that it’s something more than just a skill with slight-of-hand techniques and misdirection–it’s an art form. Acclaimed director Christopher Nolan has similarly modeled his latest film, The Prestige (recently released on DVD by Touchstone Pictures), as a whole greater than the sum of its tricky parts. Part period drama, part suspense thriller, and part science fiction, The Prestige is a multi-layered success that serves as an entertaining magic trick of its own, but reaches greater heights as a commentary on the darker depths of human nature and obsession.

Discussion of the plot in detail would do a disservice to the potential viewer, but certain facts are admissible. In turn-of-the-century England, magicians Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) develop a heated rivalry around the “Transported Man” trick, in which the performer disappears before the audience’s eyes, only to reappear seconds later across the stage. Competition soon breeds obsession, as neither of the two are willing to stop before he has perfected the trick with an unmatchable degree of authenticity. Angier travels halfway around the world in search of Borden’s secret, eventually seeking out world-renowned (and historical) scientist and engineer Nikola Tesla (unexpectedly downplayed by David Bowie). Suffice it to say that Angier and Borden have a very personal history, and that a lovely assistant, Olivia (Scarlett Johannson), will figure into an intrigue-filled love triangle. Obviously, The Prestige isn’t as straightforward as it sounds, and, typical of a Nolan film, the story unfolds out-of-sequence, adding to its cleverness. Nolan begins to peel back layers of depth to the shared obsession, and just when you think you understand how much these men are willing to sacrifice for the sake of the trick, he peels back even more. Ah, but to digress any further would be irresponsible of me, as part of the fun of The Prestige is being surprised.

The real measure of the cast’s effectiveness is proven by the fact that Nolan’s cleverness does not exceed the emphasis on his theme. Jackman and Bale inhabit their roles wholly; neither character could be considered the protagonist or antagonist, but both are consumed by their desperation to surpass the other. Michael Caine is also wonderful, as usual, in his supporting role as the magicians’ mentor, Mr. Cutter, and David Bowie takes a low-key turn as Nikola Tesla, with a great accent. The script, by Nolan and his brother and frequent collaborator Jonathan and based on a novel by Christopher Priest, also serves this purpose well, with biting dialogue (”I don’t care about my wife, I care about his trick”) that reveals the magicians’ true natures. Add to that the Oscar-nominated cinematography of Wally Pfister and flawlessly convincing art direction, and The Prestige is as thoroughly well-made as any studio film of last year.

While The Prestige is certainly not what I’d call flat-out predictable, there are enough hints and clues embedded in the layered dialogue and visual cues to enable you, if you really want to and pay close enough attention, to guess at some of its big secrets. After all, the film repeatedly urges you to “watch closely.” My advice? Don’t. I watched with the intention of figuring it out, and I may have handicapped the effect of the film’s powerful denouement, if only slightly. It’s better to turn off your detective instincts and let this story unfold for you.

Luckily, the film is set up as a magic show, not just one big trick, so there are a number of revelations awaiting the patient viewer along the way (but mostly, needless to say, in the third act). And yes, repeated viewings are certainly rewarded. But best of all, The Prestige’s endless cleverness does not exist merely for the sake of entertainment, but to enhance the plot, and to quantify the stunning depths of sacrifice and obsession human nature is capable of. That is what I’d call high entertainment, and it’s why, in The Prestige, Nolan is the greatest magician of all.

Read more articles by James Schu