'The Illusionist' is a film many believed they would never see. The final completed screenplay by French comedic legend Jacques Tati, it was considered impossible to produce without it's leading man. However the award winning animator and director Sylvain Chomet impressed many with his 2003 film 'Belleville Rendez-Vous', including Tati's daughter Sophie. It was felt that through animation, Tati's final script could indeed be produced. Surprisingly, Chomet established his own studio outside of France and changed the setting of 'The Illusionist' to match – Edinburgh in Scotland.
I was actually privileged to see the film in Edinburgh - at the Cameo Cinema no less, which itself makes a cameo for a scene where the Illusionist stumbles into a screening of Tati's 'Mon Oncle' (1958). As I left the matinée and walked back towards Queen Street I felt a renewed sense of wonder. As romantic as 'The Illusionist' may be, it truly captures a quality of the city that is entirely real. I have loved Edinburgh for years and this affection is clearly shared by Chomet. The film is at once a love letter to the Scottish capital, a romanticising that could only be achieved through traditional animation, and a profound meditation on the nature of failure. The story is surprisingly autobiographical for Chomet - The Illusionist travels from France to Scotland, and at first finds a reasonable amount of success. He falls in love with Edinburgh, but cannot make ends meet for a number of reasons and ultimately has to leave.
Many of my problems with Chomet's 'Belleville Rendez-Vous' return in 'The Illusionist'. This plot is very thin, as are the characters for the most part. While it must be acknowledged that both films are amongst the most beautiful ever produced, I was very distracted by this beauty. Without a strong plot there is little reason to invest beyond the visual. I was sustained waiting for the next stunning shot of Edinburgh, but could honestly care less about the characters. I focused on the background more often than the foreground and only really cared about the main character in the final 10 minutes, and only because he became an avatar for myself.
The melancholy of Tati's physical comedy works well in animation, although the laughs are neither as meaningful nor numerous as those in 'Playtime' (1967) for instance. After thinking about this, I believe the problem lies in placing the 'Hulot'-esq character within a routine. Routine is an important element of the film, we see the preparation and introduction to the Illusionist's act numerous times for example, but never is there pay-off. In 'Playtime' and 'Mon Oncle' the character moves from one misadventure to another. Yes indeed, the plots are thin but the humour is fast paced and visually inventive. (The sets of both films are incredible). Here there is no humour in the setting nor no journey to be taken. There is beauty, there is exhaustion but there is little laughter. This absence of story is apparent in both film-makers, but with so many rich emotions working behind the scenes there needed to be some ingenious comedy to provide contrast.
I will enjoy returning to this film, especially if I ever live abroad and feel like returning to my favourite British city. The joys of knowing Edinburgh are encapsulated and enriched by Chomet, it is only a shame he could not demonstrate that joy through good characters or an interesting plot.
****
(UK Release 20 August 2010)
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