The Illusionist

Once every few years, a relatively obscure film sneaks into release during the dog days of summer, amazes everybody and morphs into an awards darling. Many of us remember M. Night Shyamalan's 1999 sleeper mega-hit "The Sixth Sense." It enchanted with its clever suspense and mystery, and the actors carried the tight, quality script into the realm of film excellence. It became one of the highest grossing films of the year and received no less than six Oscar nominations. Like its brethren, "The Illusionist" is an amazing surprise, destined for much bigger things as it expands into wider release and Oscar time comes.

Though it shares with "The Sixth Sense" its discussion of spirits and surprise ending, writer/director Neil Burger's tale of a magician and his love is more elaborate in almost every way. In early 20th century Vienna, Eisenheim The Illusionist sets up shop, blowing audiences away with his special magic tricks. At one performance, he runs into childhood sweetheart Sophie, who is now engaged to Crown Prince Leopold, next in line for the Austrian throne. The two reconnect, and Eisenheim and Sophie rekindle their love for each other. However, their plan to escape and be together is found out by Police Inspector Uhl, who notifies the Crown Prince. In a rage he kills Sophie, and of course takes no blame, instead telling Uhl to find another suspect. Eisenheim, in his grief, begins dealing with the spirit world, trying to conjure his beloved, to be with her for a few mere seconds. But if Sophie's spirit is recalled, will she tell the truth of her murder, and what will happen to her love in the process?

Edward Norton, like all the actors, draws a feeling of both mystery and intrigue around him. Eisenheim The Illusionist is thoroughly deep and an intricate character. He is an actor of the highest quality, making people believe that his abilities border on the supernatural, while maintaining a sense of pure humanity and normalcy. Norton may be a glamorized, Hollywood actor, but he still retains that independent honesty from his fascinating role choices. That may be what keeps him fresh. The day he headlines a mega-blockbuster feature, you'll know the business has caught up with him. But until then he is a fantastic jewel of an actor.

Norton's supporting cast is equally thoughtful. Jessica Biel as childhood sweetheart Sophie mirrors "Dawson's Creek" cohort Michelle Williams, proving she belongs on the big screen and as a serious actor no less. Her performance is tender, believable and noticeably erotic. She plays the role so delicately we're not quite sure of her intentions, which adds to the mystery and intrigue of the film. Paul Giamatti takes the top prize of all the actors, though, with his portrayal of police chief Uhl, who has been assigned to monitor Eisenheim by Sophie, betrothed Prince Leopold (Rufus Sewell). Giamatti deserves his second Oscar nomination for his amazing turn as Inspector Uhl. His accent is deep, dark and the best of all the characters. He elicits a humanity that overpowers his desire for success, and his interaction with Eisenheim is playful, intelligent and utterly entertaining.

The set design is believable, with costuming and art direction mirroring that of early 1900 Europe. While much of the plot development occurs through dialogue, the backdrop is magnificent, with the architecture and activity bringing us into the scene, into the storybook feeling of Eastern Europe's castles and towns. And the score is brilliantly subtle, with very little accompaniment, highlighting and heightening the emotionally charged moments.

Hollywood desperately needs more films like this. If films are simply a more elaborate form of storytelling, then "The Illusionist" is a pinnacle of that success.