THE PRESTIGE

"Are You Watching Closely?"

Going into THE PRESTIGE, I was, in a word, skeptical. It sounded pretty boring on paper; two magicians whose relationship becomes increasingly heated, to the point of murder. It just didn't seem to have the intrigue that Director Chistopher Nolan's most recent three movies (MEMENTO, INSOMNIA, and BATMAN BEGINS) all shared. I was wrong.

THE PRESTIGE is a tour-de-force of great acting and great storytelling. Hugh Jackman and Christian Bale slug it out as magicians Rupert Angier and Alfred Borden in late-19th century London. Their partnership quickly turns to a rivalry after Borden carelessly ties messes up an act in which Angier's wife is killed in. The rivalry escalates over several years, and both men find that they are not just trying to become better magicians, but that they're both obsessed with one-upping the other, no matter what stands in their way.

If there has been a single re-occuring element throughout all of Nolan's films, it is the de-construction of criminally-hardened minds. Whether it be superheros, cops, killers, amnesiacs, or magicians, Nolan has been consistently able to break down his characters, and show the actions and emotions that lead them to the place where they are. He does so in an interesting and complex way, with much of the help coming from his masterful editing skills. He uses a non-linear time frame, similar to the method he used in his breakthrough MEMENTO to warp time and make his story all the more interesting. The film spans years, but it is barely noticable because of how tightly the pace of the story runs at.

The story is complemented by a realistic and transcending portrayal of 19th-century London (and in a few segments, Colorado Springs, Colorado). Cinematographer Wally Pfister has shot Nolan's past three films, and each has had its own visual feel. While last year's BATMAN BEGINS was lauded for the most part because of the dark, eerie, true-to-the-material look that was overhauled from Joel Schumaker's vision in the 90s by Pfister, the cinematography for THE PRESTIGE is even better. The story is dark, sometimes very bleak, and the visual aspect of the film is as well. Nathan Crowley, who designed the BATMAN'S Gotham City last year, presents a beautifully cold vision of London, with attention to detail that is rare in period pieces in this day and age, especially for such a modest price tag as the $40 million that went into this film.

As is the case with most great movies though, the technical aspects only support and enhance the story, not dominate it. Borden and Algier's bloody rivalry is not always easy to watch, probably because neither of them are 'good guys' in the traditional sense, both commiting atrocious acts that shake up how the audience feels toward them. Their love interets, Borden's wife Sarah (Rebecca Hall) and lover Olivia (Scarlett Johannson), as well as Angier's wife, the spark plug for the rivalry, act as a measuring stick as to how far down into the depths of obsession, paranoia, and insanity the two men dare to take their murderous acts to.

Overall THE PRESTIGE is one of the best films of the year. It is excellent in every technical aspect, and Christopher Nolan has told another exciting story with a great cast all giving great performances.

A