Looking to Christopher Nolan’s film The Prestige (2006), I am going to attempt to answer the question: What is the significance of this film and its relationship to others?
The moment I would like to look at is the scene when Borden and Angier go to watch the Chinese magician at the beginning of the film. After watching the man’s show, Borden figures out that the Chinese man is really not crippled. His age and condition are an act, which allows him to hide his methods behind the performance. Borden says to Angier that total dedication to the act is key, and it is the only way to get out of “here,” as he points to the squalor and small-time theater.
I believe this moment and quote from Borden to be key to the significance of this film. As a director, Nolan has certainly separated himself from others in terms of style—both narratively and aesthetically. We may even call him an auteur, as his body of work thus far reflects this similar style throughout. If one then considers Nolan an auteur, we can see that he has totally dedicated himself to his trade, working to perfect his style. Perhaps Borden was right, since Nolan’s total dedication has given him great success in his field.
I personally consider Nolan an auteur, so I believe that Auteur Theory could be applied to his body of work to investigate his particular style of filmmaking. I believe that if we begin with the idea that Nolan totally dedicates himself to his projects, then it would be easy to pick out specific examples of how this is reflected in his films. For example, I could go back through The Prestige and pick out all the scenes in which Borden’s gloves tell a story of their own—whether it is he or his twin. This close attention to detail reveals the dedication Nolan has for the film, and I believe his other films would also provide many examples of this.
Danielle,
ReplyDeleteI agree with you when you say that Christopher Nolan is an auteur. In watching The Prestige, and comparing it to his past works, such as The Dark Knight, Batman Begins, Inception, and Memento, it's not hard to notice similar styles and techniques at play.
For example, In the Prestige, there are moments throughout the film where we hear voice overs, or narration, overlaying sequences in the film. This occurred at the beginning and end of the Prestige. At the beginning, we hear Michael Caine teaching Borden's little girl about the three parts of a magic trick. And once again, we hear this narration at the end, but this time, the visual sequence is completely different and contradictory to the opening visual sequence. I found this technique quite effective and though-provoking. Moments such as these beg the question "what is Nolan trying to say here?." What Nolan is accomplishing with these sequences is both presenting and concluding the story in a symmetrical way, which correlates with the films progression. The movie starts where it ends, and it only makes sense for the monologue of Caine's character to accompany these moments in a film about "tricks" and their secrets.
These moments made me think back to my favorite Nolan film, The Dark Knight. I remember the concluding scene in the Dark Knight. The image of Batman speeding away into the night on his motorcycle is forever ingrained in my brain thanks to Nolan's technique.
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Nolan accomplished this lasting impression in my mind by, once again, utilizing the narration technique, having Batman voice over his philosophy on being The Dark Knight at the end of the film.
This particular technique which expresses true auterism connects Nolan's bodies of work. I consider this use of narration to be his signature on his films, as this technique pops up frequently throughout his other films.
- Thomas Macowski
I agree with your assessment of Christopher Nolan as an auteur; he tackles similar themes and cinematic themes in many of his films. In The Prestige, he certainly addresses the dedication and drive necessary to perform magic, mirroring how Nolan dedicates himself to creating cinematic “magic.” Another scene that I recall briefly addressing this topic is when Cutter, Michael Caine’s character, works with Angier to create a new disappearing bird trick, and in doing so tests Angier’s willingness to get his “hands dirty.” Angier never has to kill the bird, because of the contraption’s design, but he does prove that he is ready to take on the risk, push the envelope. That’s something that Nolan has done with his films; he tries to push the audience to take the risk, to make themselves part of the act, to focus and actively participate in the trick.
ReplyDeleteAnother common thread throughout Nolan’s films is the depiction of a psychological struggle, as opposed to a physical or emotional one. From Memento—battling a battered memory—to Inception—deciding what is and is not reality—Nolan offers a critical stance on how we battle psychological predicaments. The Prestige perfectly demonstrates the toll that the magicians’ determination has on themselves and those close to them. Along with depicting the benefits that such blind ambition offers, Nolan shows the losses that come with immersing yourself completely into your craft. Does Nolan use this film to show that he commits himself to his cinematic vision, but still prioritizes other things over his career? It’s possible. He still, though, visually marvels the power of magic, for better or worse, and pushes himself to create an immersive trick with his film.