The Illusionist

Academy Award-nominated film now available on DVD

By Barbara Goldman

With a bit of magic, deceased French filmmaker and actor Jacques Tati returns to the screen in The Illusionist (L’Illusionniste), a 2010 Oscar-nominated animated film directed by Sylvain Chomet.

Tati, who died in 1982 at the age of 75, became a global legend for his silent film style. His films transcended borders with a quiet physical grace attributed to “no subtitles” being necessary no matter what language viewers spoke.

The famous French icon wrote the unproduced screenplay, but it was never brought to life until Tati’s daughter, Sophie, asked Chomet to do the honor. Chomet is best known for his 2003 Oscar-nominated animated film The Triplets of Bellville.

A dreamy kaleidoscope of unhurried watercolors, the wordless scenes carry a hypnotizing handmade feel. Chomet, once again, returns to the style of his 2003 hand-drawn frames. Digital details are used here and there, but the still and moving images cascade across the screen naturally, remaining loyal to the artist’s desire for organic composition that is often lost in this digital age. Blue, brown, yellow, and green overtones highlight every frame with the flow of water–each filled with precise lines and dedicated details.

Every slurp of soup, meager applause, strained cough, screaming microphone, snap of a rabbit’s teeth, rain drop, and yes, even chilly breeze, easily lures any willing watcher into the arms of the subtle background. It is the film’s dominating melodies and acoustic instrumentation that segue the viewer into each scene. True to form, the film’s music rarely includes any lyrics and words.

Tati’s original script was set in Prague. However, Chomet moved it to Edinburgh where he lives and works. Tati most definitely would give this decision a nod after seeing Chomet’s depiction of the northern seaside, as a kilt-adorned Scottish drunkard squeals with delight while rolling down the grass. The very scene alone will make you want to roll down a hillside.

The comedic drama begins in 1959 with a struggling French illusionist who finds his music hall act is being replaced by more modern rock’n’roll performers. While no rock star cameos take place, it’s easy to see nods ranging from the hip jolting Elvis of the day to a white suited Buddy Holly to the thunderous kicking and flaring of the Rolling Stones–and even the signature hairstyles and fans of The Beatles.

Down to the signature trench coat and lanky legs, Tati’s persona is clearly seen in the main character—as if he’d played the role himself. Also shared by the illusionist is Tati’s real sir name, Tatischeff.

Tatischeff is forced to take to the road, wayfaring between chance performances. Passing through a remote village, our washed up illusionist encounters a young fan convinced that his magic is a reality. After receiving a much needed pair of new shoes from Tatischeff, she sneaks her way into his suitcase and, eventually, into his heart

The two soon develop a father-daughter relationship which was rumored to reminisce that of Tati and an illegitimate daughter. According to the 2006 reading of The Illusionist script at the London Film School introduced by Chomet, the film was written and intended to make it as a live action film with Tati and one of his daughters.

The living and deceased film collaborators easily complement one another’s signature styles with a grace best represented by both the modest and decadent characters brought to life on screen. Among the film’s company is an array of time-tethered characters including a charismatic yet suicidal clown, a lonely alcoholic ventriloquist, and a group of daring acrobats.

The attention Chomet pays to his animation is surreal. Backgrounds and inanimate objects seem to take on life and develop their own personalities. Each time the film is watched, elusive new details such as street posters and vehicles are sure to be seen. “Free Scotland” is painted on a building wall reflecting the time and consciousness of the country. City streets are dominated by fast moving taxis, double decker buses, and the occasional horse and buggy. Each character, each driver, horse, chicken, even rat, has something Chomet identifies to the viewer with je ne sais quoi.