The Illusionist
Elegant tribute to French legend Tati
Jacques Tati’s body of work continued the tradition of the silent comedy long after most audiences had forgotten it. Subtle, whimsical and funny, with punch lines following protracted builds. Tati’s legacy was imbued within Monsieur Hulot – a caricature created of his idols – a charming, self-effacing, amiably oblivious and elegantly maladroit comic creation, never seem without his signature trench coat. His legacy was cemented with his final four films Les vacances du Monsieur Hulot/Mr. Hulot’s Holiday (1953), Mon oncle/My Uncle (1958), Play Time (1967) and Trafic/Traffic (1971).
The Illusionist sprang from one of the most extraordinary projects in recent cinema history. Director Sylvain Chomet set about securing authorisation to feature a clip from Tati’s Jour de fête/Holiday for his previous animated full length Belleville Rendez-Vous. In contacting Tati’s estate to secure said clip, daughter Sophie Tatischeff mentioned an un-filmed script written by her father during the late 1950’s. This was the story of the irrevocable passing of time, written by father for daughter – and was no comic farce.
Tati could never have been involved in such project. The highly personal subject matter was too serious, and would’ve provided a poignant diversion for his career at this time, and the script went unfulfilled by Tati’s death in 1982.
The Illusionist is the story of noble aging illusionist, competing with the emergence of rock ‘n roll, wandering from country to country in search of stage residency. Whilst performing in a remote Scottish village (the same time they discover electricity) he encounters Alice, an innocent young girl, who becomes awestruck by his magical abilities, believing them to be real. Following him to Edinburgh, they form a respectful father/daughter bond, as she attends to his home while he performs in a small local theatre. Desperate not to break the illusion he starts to drive himself to ruin in an effort to conjure up more exquisite gifts as Alice comes of age.
The illusionist is a very sweet story of respect and affection in equal doses. Chomet’s signature illustrative style, introduced so well in Belleville Rendez-Vous is again present here, an enigmatic French Art Deco stroke and elegance via Studio Ghibli’s exasperated human caricatures. Music is incidental and the limited script is uttered through mutterings. The majority of the conversations revert to the heyday of Tati himself, relying on grand gestures and bold movement to convey emotions.
The effect is an emotive story of respect for the sobering process of ageing, and provides a fitting epitaph for one of Frances great actors.
To celebrate the release of the film we have original sketches and a Pathe Box set (include The Diving Bell and the Butterfly, and Moliere and the Chorus) to give away. To enter email caroline@dontpaniconline.com with the answer to the following question:
What was Jacques Tati's first film?
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