this is such a great movie. there is barely any speaking and one has to really pay attention. the relationships develop through actions and facial expressions. i don't want to say too much because i feel commentary may give away the movie. there is wonderful music that plays throughout the whole movie. this is not one of those high dollar cinema blockbuster things. scences take place in france, london, and glasgow.
just go see it.
the illusionist is a story about two paths that cross. an outdated aging magician, forced to wander from country to country, city to city and station to station in search of a stage to perform his act meets a young girl at the start of her life's journey. alice is a teenage girl with all her capacity for childish wonder still intact. she plays at being a woman without realizing the day to stop pretending is fast approaching. she doesn't know yet that she loves The Illusionist like she would a father. he already knows that he loves her as he would a daughter. their destinies will collide, but nothing-- not even magic or the power of illusion can stop the voyage of discovery.
in the late 1950's a script for The Illusionist was originially written by French comedy genius and cinema legend Jacques Tati as a love letter from a father to his daughter; however the script was never produced and remained virtually unknown for over half a century. The Illusionist was written by the world famous Jacques Tati between 1956 and 1959. "the story was all about the irrevocable passing of time and i understood completely why he had never made it. it was far too close to himself, it dealt in things he knew all too well, and he preferred to hide behind the mask of his seminal character Monsieur Hulot. you could tell from the start iw as not just another Hulot misadventure, all the heart-on-sleeve observations made that crystal clear. had he made the movie--and i'm certain he had every camera angle already worked out--it would have taken his career in a totally different direction. he is actionally on record saying The Illusionist was far too serious a subject for his persona and he chose to make the classic Play Time instead."
Animation techniques-2d versus 3-d
Chomey has always favored the look and feel of hand-drawn cell animation rather than computer generated 3d for this type of story-telling. Chomet remarks, "1960s vintage disney is my absolute favorite animation period. the aristocates and especially 101 dalmatians sum up the energy and artistic roughness you just don't get from CGI 3D computerized animation. my insistence on hand-drawn 2d graphics comes from the fact that technique gives a more ethereal charm to the art, ensuring the story is always a pleasure to behold, even during moments of inaction. the strength of 2d in my opinion is it vibrates and it's not perfect, just like reality in fact. imperfections are important when you are dealing with a story about human characters. it adds to the realism, makes it even more potent. and 2d is created by humans CGI is good for robots and toys; less for humans. i want to see the work of an artist on the screen; not a machine whose visuals are too neat, shiny, and clean. i prefer me and my special pencil--not me with a laptop! something indefinable is lost designing with a computer. when i draw, aesthetically pleasing things comes to life with a magical quality and visual power"