This is part of my folio for my interview in the course of Creative Arts for RMIT University. Code no. :32551. Hope you think it is good. I really want this course.
Task #11) A film analysis for The Prestige (2006)
Reference of synopsis: http://www.imdb.com/title/tt0482571/synopsis
You will have to read the synopsis to understand the essay.
In the introduction Cutter himself is narrating this structure (the pledge, the turn and the prestige), explaining the terms used in late 19th century England. This is again repeated at the end, wrapping up in retrospect the shows contention, that magicians seek to fool audiences who want to be fooled, no matter the cost.
The scene where Borden watches Angier drown rightly happens much later in real time. It is brought forward here for quite a vivid purpose. The bird trick, later revealed, is quite similar to this trick called the “Transported Man”, the most sought after trick in the business. Contrasting these, both tricks involve death, though the former is the requisite of a death of an animal and the latter the lost of a human being. The viewer is able to make connections cognitively the mechanics of both subjects, henceforth questioning whether it is morally right to allow such a thing to take place. Indeed, it also calls on questions concerning human cloning (that is what the Tesla-coil does). Robert Angier is a character who loses his humanity up to his death, or many deaths! He is rigorously classified as the main character beside Alfred Borden, his rival magician, as he embodies the sort of queries brought up.
After this intro, the film quickly sets itself up with a complicated narrative where we follow three different timelines at once.The first timeline fails to reveal Borden’s humanity – his love for his daughter, which is only revealed later. This timeline focuses on the prestige of his “greatest trick”, the one he was famous for. He shows here pompousness and confidence as he says, “he never learnt my trick,” referring to Lord Caldlow, whom he had not known yet. It should make the viewer wonder what trick could never be learnt by another. Otherwise, why would Borden say that? It could be suggested that these timelines, including the one where Cutter confides to the judge and talks about “a wizard”, is designed to build a sense of wonder in the audiences. The flavor of the show almost tips to the fictional world here. We might believe that this dilemma is unexplainable, but is that really so? Underlying the contention of this film sprouts the idea that there are definitely methods to all trickery. But Borden’s trick, as later clued by Borden himself, can only be performed by himself. He also denied that all tricks can be duplicated. The prestigious identity of his trick, which seemed to surpass even Robert Angier’s machine (built by “a wizard”), leaves the audiences baffled and prone to thinking that Borden was more than a mere man. But, as the judge tells cutter within the preceding sequence, seeming to echo the voice of the viewer, “I’m sure beneath its bells and whistles there is a … disappointing trick.”
Borden’s admiration for the Chinese magician is recalled by these phrases describing the qualities Chung Lin Soo entails: “self-sacrifice,” and “devotion to the art.” We can now concur that Borden is somewhat a genius at detecting methods for tricks. And this gives us a clue to why a trick, indeed, “cannot be duplicated.” And the fact of his genius gives us heightened suspicion for his “masterpiece.” The bird trick mentioned is the same trick done at the introduction of the film, and its revelation later that the original bird actually dies brings a little shock value to the viewer, who’s less comfortable now after having a peek behind the stage curtains. Borden’s nonchalance when disposing the bird’s body saying to the bird of ‘the prestige’, “You’re the lucky one today,” questions his value for animal life, and consequently, human life. Would he react the same way when he saw Angier drowning under the trapdoor? We will soon find out.
Cutter’s caution to Borden to tie a safer knot for Angier’s wife (the underwater escape trick) becomes truer. However, Borden appears stubborn and unremorseful here. Again, this questions Alfred Borden’s capacity for love, especially after knowing the fact that his wife Sarah is pregnant. This has potential to stir contempt in the audience towards Borden. We now see the rivalry as a sort of hero villain outturn in this story, because the blame should be put on Borden, assuming Borden knew what he did. Moreover, it is highly unlikely he did not; after all, he is an accomplished magician. There is potential now to harp on Angier’s ‘righteous’ anger and on the other hand, Angier’s downfall that led to his obsession to beat Borden, sending him to Colorado Springs, that true enough led to his undoing.
We see thereafter a pattern of consequent revenges between Borden and Angier upon one another. We also can notice, from the visual elements painted in the scenes, a high tonal contrast between Borden’s and Angier’s indulgence in magic as an art and as a profession respectively. Angier has the unique gadgets that do not “get his hands dirty.” He is suited up and staged in a well furnished professional stage ideal for big theatric displays of the day. Borden performs in a bar-like area with people free to throw dangerous objects at him, and his only assistant is Fallon. We can picture here two different classes of magicians. Their techniques for getting on each other are also congruent to their own style. Angier is well disguised and inserts a bullet, a relatively clean move. On the other hand, Borden causes the bird to die, bringing some ‘dirt’ onto the Angier scene. The action of the cancellation of Nicola Tesla’s demonstration here is now starting to pull Angier to follow the ‘dirty’ tricks of Borden, if not outpace him.
At another point in the narrative we recognise the start of Robert Angier’s obsession to beat Borden in the trickery business.
Christopher Nolan is clever to build fake marvel upon Borden’s masterpiece as the prestige of the trick scene is cut in the edit for later. There was no applause because Cutter says, “It was too simple. The audience had no time to react.” “He is a wonderful magician. He is a dreadful showman.” Olivia, repeating Angier’s statement with confidence: “It’s the same man (who comes out of the other side),” is no doubt the interrupter of Cutters reputation of good judgment. The fact that Borden’s gloved left hand still has bandaged stumps confirms this statement. But how do we know that Borden’s supposed double did not chop off his fingers as well? After all, did not Borden have a tinge of obsession on self-sacrifice? But why would he wear gloves to hide his damaged fingers? Then again, can we fully interpret this man who appears to be bipolar, yet distinctively skilled and ingenious?
We see Angier’s weakness. He feels inadequate as he is subordinate to Borden’s version of the trick. He is not willing to, like the Chinese magician, make self-sacrifice. He is, along with the audiences, fooled by Borden’s mysteriousness. And the viewers, in retrospect compliment his unsettled pursuits to steal Borden’s secret as the viewers themselves want to get behind the scenes to understand Borden’s complex character.
Christopher Nolan, again, intensifies the fake marvel of Borden’s trick by including the visual of Tesla-coils in his act. Any suspicion that Borden uses a double is diminished as even Angier, with all his advantages fail to get a loyal comrade. And we also ask the same question as Angier, “how does he do it?” This ensures that the viewer is lost enough and is happy to be fooled so far within the interim of the suspense.
We see Angier’s resources falling apart. He has betrayed his engineer as well as Olivia. This sad unfolding reveals an obsession that even Tesla himself confirms.
The interesting revelation at the conclusion of the story brings disappointment and sensibility to the mishaps in the story. The journey of a man from propriety to carelessness about humanity, embodied by Robert Angier, indeed is embedded into the bigger picture of Borden’s great trick. Now the dichotomies of the two rivals are fully tilted, Robert Angier appearing as the villain and Borden the hero. With this in mind, the audience feelings are echoed by Cutter’s last words, “you don’t really want to know … you want to be fooled.”
