The Illusionist

Sylvain Chomet’s animated masterpiece The Illusionist is both a charming and surprisingly moving picture that is complimented by its beautiful hand drawn illustration. Its debut at this year’s Edinburgh International Film Festival had the media buzzing with excitement in regards to its story being predominantly set in the capital. More extraordinary however is the number of local animators involved in the project, based in both Edinburgh and Dundee, responsible for much of the technical and clean-up work of the film.

An adaption of Jacques Tati’s original screenplay, The Illusionist tells the story of a struggling French magician who travels through Scotland in search of work. Unable to compete in a new age of cinema and rock n’ roll, he is finds himself increasingly alienated from a world he once belonged to. Indeed, prospects for our ageing protagonist seem at first bleak until an unsuspected job in an isolated community lifts his spirits. It is here he encounters a young teenage girl who mistakes his ‘magic’ to be real. In complete awe of the magician she decides to accompany him to Edinburgh and this unlikely pairing develop a close father-daughter like relationship. However, the ‘illusion’ that keeps the plutonic couple together gradually begins to give way to reality- the inevitability that the girl will one day grow up and move on.

Part of this film’s unique charm is in its ability to communicate to its audience with virtually no dialogue, which adds to the sweet and comical scenes whereby the French speaking magician and the Gaelic speaking teenager struggle to communicate with one another. In effect The Illusionist leaves behind a deep impression on its audience by presenting the story in this remarkable way. Where through every subtle gesture of expression, construct of space and a particular array of musical styles, play an active role in the overall storytelling of the film. Through this mechanism Chomet successfully establishes a real emotional connection with his audience- a cocktail of nostalgic and melancholic undertones against genuine uplifting and heart-warming moments that keeps the film in balance.

The visuals are simply stunning. In particular, the night time scenes of Edinburgh are so beautifully illustrated, and with incredible attention to detail, is in a word- magical. An example of how Chomet evidently romanticises Edinburgh in order to evoke a dreamlike feel that is enjoyable to the audience.

Highly intelligent, entertaining and moving, The Illusionist is full of surprises and a treat for the eyes.

JC