Downstairs at the Prince Charles Cinema
This was my second viewing of Sylvain Chomet's beautifully crafted animation, with the week off work and £1.50 entry at the Prince Charles it was a no brainer. Although second time around it was never going to have the same stunning, unexpected impact as my first viewing, it was nonetheless just as intriguingly beautiful and melancholic as before. The Illusionist tells the story of a struggling lonesome magician, modelled on Jacque Tati and based upon a un-produced script by the French actor and director. The script upon which it is based is described as Tati's 'love letter from a father to a daughter' and the symbolism is there for all to see. Although as Richard Mowe points out, with his adaptation of the script Chomet's film is as much a love poem to the city of Edinburgh than it is homage to Tati's work. 1
As somebody admittedly not overly familiar with the work of Tati, it is the romantic and beautiful portrayal of Scotland and in particular it's charismatic capital that will stay with me the most. Chomet's animation paints the unique landscape, architecture and unruly weather of the famous festival landmark to perfection. As Alice climbs up on to arthurs seat and the camera pans across to show all encompassing castle and the high stone brick streets which surround it there really couldn't be a better postcard for the city (take note Edinburgh merchandise sellers). Chomet's portrayal of the inhabitants of Scotland however is perhaps less calculated. The stereotypical characteristics border on parody at times, the ever drunk highlands bar owner and the kilt welding policemen being the clearest cases in point. Although you get the feeling Chomet knows the preposterous nature of these characters and enjoys the ability to sculpt these through his artwork, in the same way he joys in listing 'fried chocolate bars' on the menu for the local fish and chip shop.
However the narrative drive does undoubtably run to a hilt towards the end of the film. Indeed the ending will not be to everybody's taste although it is not the plot which is the main focus of this film. We are not overly concerned with where the protagonist future lies or for that matter that of his accomplice Alice. The focus of Chomet's animation is more towards the construction of a particular environment within a particular period of time. The unnamed protagonist is as hapless, though an endearing soul you will find on our screens this year. This is in effect a silent film but Chomet's original score along with the sound work of Carl Goetgheluck more than account for the mumbling and grumbling of the animated characters. In fact more dialogue would have merely ruined what is a touching, endearing piece of cinema. Thus, just as our protagonists trade as a magician is painted as a dying form of entertainment, in the face of a new bred of rock n roll. Then should the 2d cell animation touted so strongly by Chomet become as much a dying and unsellable form in years to come then it is films such as these we will look back on as the last greats of a dying cinematic form.
1 Richard Mowe, Boxoffice Magazine, 17th December 2010
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