Eisenheim (Norton) is a master magician in 1900s Vienna with a deeply intriguing stage act and a mysterious past. No one knows he's actually the working class boy who had a childhood romance with Duchess Sophie (Biel). She doesn't even recognise him, although she's about to. Alas, she's now betrothed to the Crown Prince (Sewell), who really doesn't like all the attention Eisenheim is giving to his fiancee. So he asks the Chief Inspector (Giamatti) to find out Eisenheim's secrets. And then get rid of him. If only it was that easy.

It's an intriguing story, and the film is elegantly produced. Writer-director Burger makes the most of the Czech locations, using what looks like flickering candles to light the sets, which adds loads of gothic atmosphere. So it's a little annoying that the magic scenes are heavily loaded with digital effects. Even though they keep talking about how the tricks are illusions, they're also clearly faked for the camera.

But the real problem is that it's all so deeply corny. The script is loaded with cheesy dialog and situations that play out in predictable ways. Even the story's twists and turns aren't really that inventive; they just seem that way because Burger works so hard to throw us off the scent. Fortunately, the cast is more than able to make this ludicrous material work in their favour.

Norton is fine in a fairly undemanding role, and Biel looks and acts so much like Scarlett Johansson that it's almost eerie (especially if you've already seen The Prestige, which is an entirely different kind of film). Sewell is terrific as the glowering, controlling prince. The best surprise is a superbly cast-against-type Marsan (as an edgy theatre manager), even though his character disappears for much of the film. And as the tenacious and dangerously curious cop Giamatti, as always, is worth the price of admission.

themes, some violence

24.Sep.06