Zelfs zo groot dat alles en iedereen in de buurt van de aartsrivalen gevaar loopt. Quite apt to describe how things work out during the movie, or to describe in general, Nolan 's films so far. At the end of the movie, one quote popped into mind: Misdirection - what the eyes see and the ears hear, the mind believes. It's a carefully orchestrated deception designed for the sole purpose of entertaining the audience, of bewildering the imagination with wonder and spectacle. 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.
For a more in-depth take on the movie, you can read our review of. This transition is a hard note to pull off, since the beginning of the film doesn't quite suggest such a direction, but if you're willing to let Nolan lead you on the journey into increasingly fantastic realms, the narrative rewards you with thought-provoking moral and dramatic exploration of the issues raised. What more could you ask for? If you can't follow this one, you've been watching television too long. 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. Both become famous and rival magicians, sabotaging the performance of the other on the stage.
A pair of competing magicians pulls the rug from under their audience with a lovely assistant named 5. My friend and I have been discussing various nuances of this film for the past 3 weeks. At the same time, the mystery drama is a deceptively clever and wildly innovative love-letter to the magic of cinema where Nolan essentially suggests the effectiveness of a film and good storytelling is akin to the success of a good magic trick. The work is epic in sweep, beautifully filmed, and strongly acted. It's smart in delivery and slick in presentation.
Rupert Angier en Alfred Borden zijn al van jongs af aan, toen ze nog lerende goochelaars waren, elkaars rivalen geweest. Look out too for David Bowie's appearance as a Serbian scientist! And this movie lives up to its namesake to a T. Isn't that what both movies and illusions ask us to do? The acting is superb as well as the plot. I guess the problem is that I am merging 1080p subtitles into a 720p movie. Interestingly, blues are observably brighter and illuminating, making the electrical currents flying in the air really sparkle with brilliance, and reds are of a slightly deeper shade, but greens show little improvement though remain accurately rendered. He brings polish to the movie. Faces are often lifelike, showing individual pores and the smallest, negligible blemish.
In this setup, the screen is the stage, the director is the magician and the film is the illusion. For a more in-depth take on the audio quality, you can read our review of. Christopher Nolan can do no wrong. A film is a visual medium and this one is a visual ten. 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.
Specular highlights also receive a welcomed upgrade, appearing slightly tighter and punchier, especially in the lightning bolts firing off Tesla's machines. 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. 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. 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. But as Michael Caine's stage engineer John Cutter explains, that's ultimately the whole point of watching and enjoying a good magic trick. That last part isn't always consistent, as faces can suddenly seem paler from shot to shot, but complexions appear more lifelike and natural overall. It keeps you interested; it keeps you guessing right to the shocking but most appropriate end.
Similar to what he did seven years earlier with his neo-noir psychological thriller , Christopher Nolan aims to astound and amaze his audience with a big reveal or unexpected twist at the end. When Alfred performs a successful trick, Robert becomes obsessed trying to disclose the secret of his competitor with tragic consequences. The talent, then, is in one's ability to cleverly misdirect the audience's gaze, expecting one result but giving them another. When Julia accidentally dies during a performance, Robert blames Alfred for her death and they become enemies. Even though the movie clocked in at slightly more than 2 hours, you don't feel its length at all. And when we revisit the trick again, watching with a more critical eye, we may uncover the devil hiding in the details, possibly revealing the trickery employed for deceiving us, but that's okay.
I thought the cast in general were superb, with Christian Bale leading the charge. On the surface of it, Christopher Nolan's The Prestige is the tale of rivaling stage magicians played by Hugh Jackman and Christian Bale in late 19th Century Victorian London, feeling as though tracing a pivotal era in the history of modern illusionists leading to Harry Houdini. Bringing you all the best reviews of high definition entertainment. I was especially enamored with the screen writing and how tightly and beautifully the visual metaphors tied in with the writing, and with the impact of the human message about obsession, competition and retribution carried to the extreme. With cleanly distinct and precise vocals in the center, the soundstage exhibits outstanding clarity and balance across all three channels with marvelous separation and definition during the loudest, most electrifying moments. What also was intriguing about the two lead characters was that there is no right or wrong, no hero or villain.
When Julia accidentally dies during a performance, Robert blames Alfred for her death and they become enemies. Nevertheless, Wally Pfister's photography enjoys a crisper, more dynamic appeal that displays cleaner, pitch-perfect whites in the fluffy clouds, some articles of clothing and the spotlights of the stage. The acting performances by Hugh Jackman, Christian Bale and Michael Caine were the best I have see in a long while. Christian Bale was amazing in one of his rare cockney performances. 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. The film is visually moody and evocative, easily transporting you into the time period.