Mesmerizing Beauty of Sylvain Chomet’s Gorgeous ‘The Illusionist’

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Rating: 5.0/5.0

CHICAGO – Presuming the Academy makes the logical choices, the competition for the Oscar for 2010’s Best Animated Film should feature three of the best films of the medium in many years – “Toy Story 3,” “How to Train Your Dragon,” and the least-heralded of the three, the beautiful “The Illusionist.” Most people already own the first two after immensely-popular theatrical runs, but Sylvain Chomet’s touching, lyrical gem could use the boost of an Oscar nomination. Anything that gets this lovely animated treat to a wider audience would be a good thing.

Sylvain Chomet, the director of the highly-acclaimed 2003 “Triplets of Belleville,” adapted “The Illusionist” from an unproduced script by the legendary Jacques Tati (“Mon Oncle,” “Play Time”). Chomet took the work and essentially turned it into something of a tribute to Tati; an easy feat given the fact that the story was semi-autobiographical. Chomet has claimed that Tati intended to make the film (live-action, of course) with his daughter Sophie, although there has been some controversy in the international community as to Tati’s true intentions. (He also had a daughter who he abandoned very young and some have read the piece as more for her than Sophie.)

The Illusionist
Photo credit: Sony Pictures Classics

“The Illusionist” is a lovingly simple tale that features large passages without dialogue and plays more like a silent film than fans of modern animation might expect. It tells the story of an over-the-hill magician who goes from small venue to smaller venue as he watches rock musicians take the crowds that used to be thrilled by a rabbit coming out of a hat. His time is fading as his art form becomes less popular.

As one journey appears to be coming to a melancholic end, another is beginning. The magician meets a young girl named Alice who he takes under his wing. Where the illusionist sees a world that doesn’t need him as much as it used to, Alice sees one full of magic and wonder. Whether or not “The Illusionist” is a love letter to one of Tati’s daughters, it plays like a love letter to all young people about to realize the magic of the real world.

There are moments of broad humor in “The Illusionist,” but Chomet’s approach is much more lyrical here than it was in “The Triplets of Belleville.” Where that film was refreshingly zany, “The Illusionist” is far more restrained. It is a gentle, quiet tale with visual treats more than a riveting plot or deep character development.

The Illusionist
Photo credit: Sony Pictures Classics

And the visual treats are amazing. “The Illusionist” reminds viewers that hand-drawn animation has a different beauty than the imagery of Pixar or DreamWorks. Chomet’s film contains some of the most gorgeous images of the year; paintings come to life on the big screen. The lush landscapes, the detailed faces of the characters, even the broad caricatures of some of the lively supporting personalities – every element of “The Illusionist” comes together to form something nearly transcendent.

This was not a good year for animation overall. Most of it was pretty mediocre, mainstream fare. But when a form can produce three films as different and incredible as “Toy Story 3,” “How to Train Your Dragon,” and “The Illusionist,” it’s hard to say it’s struggling in the slightest. As much as I love the Pixar and DreamWorks films, it is “The Illusionist” that really proves the form’s vitality by presenting the beauty in not new technological advancement but old-fashioned artistry.

By BRIAN TALLERICO Content Director HollywoodChicago.com brian@hollywoodchicago.com