The Illusionist

The Illusionist

The Illusionist

               Genre: Animated
               Magic, magician, 1950, Island, Scotland, Berlinale 2010, Jacques Tati

The magic of the past

  Tatischeff is a magician of the old school: he conjures rabbits out of the hat and coin behind the ear. Even in Paris in the late 1950s, he barely fit in time. Rockabilly bands make the audience crazy and deny him the stage, while his classic magic tricks and viewers can hardly even less applause. The reality of the artist’s life takes him not just with kid gloves on, and even his rabbit, there are vicious. Touching quiet and unassuming in Tatischeff lurches from one engagement to another. Leads him to search for a next opportunity to act and make some money from Paris to London to up to Scotland. With its commitment to a small island off the Scottish coast, where life is still ticking a little slower, he no longer seems quite so fallen out of time. And yet, the first light bulb with the electricity here celebrating their belated entry gets almost more applause than not confuse it with his good old magic tricks.

The main character from Sylvain Chomet animation film The Illusionist (with the same feature by Neil Burger) Tatischeff is, not coincidentally the same as the real name of Jacques Tati. And as the magician Tatischeff so lost in his trench coat stalking through the modern world and has its own problems with it, it affects not just something like an animated reincarnation of Monsieur Hulot.
For The Illusionist is a loving homage to Jacques Tati who struggled equipped as Monsieur Hulot, in almost all his films – with a trench coat, umbrella and pipe – in his incomparable way with the achievements of modernity. Just like the movies Tatis Sylvain Chomet animation works well with virtually no dialogue. It is based on a script by Tati’s only 30 pages, the latter wrote in 1959 between Mon Oncle Playtime and his daughter Sophie, and devoted. Chomet has adapted these descriptive text, and also dedicates his film Tati’s daughter.

It is also a delicate substance, slowly evolving relationship between Tatischeff and a young girl who believes he is a true magician and secretly followed him as he leaves the Scottish island towards Edinburgh. In his somewhat clumsy way he takes care of a father to her, buys her shoes and coat and gives it as start-up for a life as a young lady in the city. For some time, here come together in this way for two generations. They did not really come together and have no common future can be anything but each other along the way.

Sympathetic deformed characters inhabit, with attention to detail, have animated world of triple-Oscar nominated directed by Sylvain Chomet. Unlike in his first feature-length film Les Triplettes de Belleville, this world here seems far less grim, but rather is a golden glow of nostalgia to it.

Culminated this completely successful, handmade tribute is when the magician Tatischeff is confronted suddenly in a wonderful director with his original idea. “Magicians do not exist,” as he writes a farewell to the girl – but magical moments.

At the premiere of the film at the Berlinale, the guy was not ready. On the black screen, there were not read name, but appeared to be over forty people on the stage who have worked on the film. A real shame that this will in later performances no longer be so. For a finer tribute than that the film-going public once all the parties otherwise left invisible hand gets to see who conjured up this animation artwork behind the scenes, there are few.

(Kirsten Kieninger)

Title: The Illusionist Original Title: L’illusionist Country of production: France, Great Britain Year of production: 2010 Length: ( #) 90 (Min)

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