Paris, 1959. Blinds tents, theaters and stages of light during night bustle, it happens that the level of filament does not correspond to the mind of a skeptical public, unable-or disabled- of wonder with an illusionist who despite years clinging to the art of his craft, once the occasion of reflectors and applause. A rabbit in the hat, which turned into such tissues bouquet or a deck of cards into the air. Nothing. A few fake palm trees, goodbye, thanks for participating.
So begins the second film by Sylvain Chomet , animator and film director in the year 2003 won the international audience with his debut feature The Triplets of Belleville . Heir to the very realistic graphics of the Franco-Belgian comic strip (bande dessinée ) , Chomet seasoned this tradition printed through animation, a process that gives motion pictures and drawings under these objects are not themselves possess. We note then that both the protagonist and the director share a common gift that links from beginning to end: both are in some way, illusionists.
By knowing excluded Tatischeff , the protagonist, choose the natural path of migration, north side with the firm intention of surviving in a world that strives to darken, however, far from improving, their situation worsens . This does not stop, if large cities shun their services somewhere remote and insignificant it may seem, there the show must go on.
Thus up to a modest Scottish people, people who are surprised by 'miracle' of the electric light and pleasure to ride on the fresh grass, fertile land where the show started more than a sincere smile. This is where Alice meets , humble, low profile girl who yearns to go beyond the confining borders. Captivated by the talent of Tatischeff knows his chance of adventure-perhaps the only, has arrived and does not hesitate to use it. What can go wrong in the company of a magician, identical to the fairy tales?
The final stop is Edinburgh, Scotland, a city where our magician, now paired with his accomplice on the run, bet your last letter. Staying in a flophouse inhabited by full-blooded fellow, trapeze artists, clowns, ventriloquists, all like him, suffer from the neglect of public and drown in memories of past glories. The magic soon exhausted and distress grows in the viewer (spoiled by the classics of Walt Disney) to attest that a great solution you choose not to appear on stage. Backstage
The origin of L'Illusionniste goes back to a script French but not published Jacques Tati, recognized as one of the funniest comedians of cinema, especially by two fine films he directs and stars: Fiesta Day, (1949) and Mr Holidays . Hulot (1953), precisely this last character is the one that inspires Tatischeff , and confirms the film to confront them face to face, in a memorable cameo.
Tati The purpose of this script was film a real image next to your daughter, but he was never able to do it. Sylvain Chomet When he was producing his first feature film Sophie went to Tatischeff (daughter of Tati) in order to get permission to include in the Triplets of Belleville excerpts of the tape Fiesta Day. It was then that Sophie Chomet decided that filming the script in animated format, and she did not want any other actor play the role of his father.
The silent nature of Tati mood is also reflected in the direction Chomet prints in his work, since its debut it was clear that the dialogue does not rest on the central pillar narrative, in this case , although there are three languages those competing in the crossing of the unfortunate magician (French, English and Gaelic), no subtitles or written annotation is needed to fully understand the meaning of each scene. In contrast, non-verbal language and music, determine the intent and meaning of each moment.
No more magic?
The premise of the film rather dark, melancholy. However, it is clear that such a conclusion is the result of a semantic error: the illusion is not synonymous with magic. Tatischeff veteran of the trade which is very clear, but Alice , about to leave their children and begin their road to maturity are you aware of it? For a while it does not seem so, the penny trick behind the ear is enough for her, but not dilated to notice that a currency is not much. Such a situation evokes at times the interpretation of Leslie Caron as Lili in the eponymous film Charles Walters (1953).
The exit lurks all the time, keeps the dramatic tension through a question, voracious but sensible: "When will the pious final blow? Tatischeff feels that is very around so she decides to make his last great act, his will, in the person of Alice . Taking into account the work-acid, disenchanted, the Finnish director Aki Kaurismäki , Chomet sticks to the script dark written by Tati and facilitates the final staging, closing any possibility of return to forgotten glory years.
If at first relate to the director with the protagonist in both magicians from their respective offices at the end, we identified more similarities than in the first instance is kept hidden, like the idea of \u200b\u200bputting the art of money or any other good material, dignity and pride for doing what they want despite the adversity.
Jaques Tati suffered the ravages of such circumstances and by the end of his career bankruptcy was their main obstacle in trying to keep filming. For his part, one would think that everything is hunky-dory for Sylvain Chomet quite the contrary, in 2004 founded in Edinmburgo, Django Films, an own animation studio with the hope of opening field in the film world that today exists only because of lack of funding. All indicates that reality is always the same: the art as crime never pay.
So begins the second film by Sylvain Chomet , animator and film director in the year 2003 won the international audience with his debut feature The Triplets of Belleville . Heir to the very realistic graphics of the Franco-Belgian comic strip (bande dessinée ) , Chomet seasoned this tradition printed through animation, a process that gives motion pictures and drawings under these objects are not themselves possess. We note then that both the protagonist and the director share a common gift that links from beginning to end: both are in some way, illusionists.
By knowing excluded Tatischeff , the protagonist, choose the natural path of migration, north side with the firm intention of surviving in a world that strives to darken, however, far from improving, their situation worsens . This does not stop, if large cities shun their services somewhere remote and insignificant it may seem, there the show must go on.
Thus up to a modest Scottish people, people who are surprised by 'miracle' of the electric light and pleasure to ride on the fresh grass, fertile land where the show started more than a sincere smile. This is where Alice meets , humble, low profile girl who yearns to go beyond the confining borders. Captivated by the talent of Tatischeff knows his chance of adventure-perhaps the only, has arrived and does not hesitate to use it. What can go wrong in the company of a magician, identical to the fairy tales?
The final stop is Edinburgh, Scotland, a city where our magician, now paired with his accomplice on the run, bet your last letter. Staying in a flophouse inhabited by full-blooded fellow, trapeze artists, clowns, ventriloquists, all like him, suffer from the neglect of public and drown in memories of past glories. The magic soon exhausted and distress grows in the viewer (spoiled by the classics of Walt Disney) to attest that a great solution you choose not to appear on stage. Backstage
The origin of L'Illusionniste goes back to a script French but not published Jacques Tati, recognized as one of the funniest comedians of cinema, especially by two fine films he directs and stars: Fiesta Day, (1949) and Mr Holidays . Hulot (1953), precisely this last character is the one that inspires Tatischeff , and confirms the film to confront them face to face, in a memorable cameo.
Tati The purpose of this script was film a real image next to your daughter, but he was never able to do it. Sylvain Chomet When he was producing his first feature film Sophie went to Tatischeff (daughter of Tati) in order to get permission to include in the Triplets of Belleville excerpts of the tape Fiesta Day. It was then that Sophie Chomet decided that filming the script in animated format, and she did not want any other actor play the role of his father.
The silent nature of Tati mood is also reflected in the direction Chomet prints in his work, since its debut it was clear that the dialogue does not rest on the central pillar narrative, in this case , although there are three languages those competing in the crossing of the unfortunate magician (French, English and Gaelic), no subtitles or written annotation is needed to fully understand the meaning of each scene. In contrast, non-verbal language and music, determine the intent and meaning of each moment.
No more magic?
The premise of the film rather dark, melancholy. However, it is clear that such a conclusion is the result of a semantic error: the illusion is not synonymous with magic. Tatischeff veteran of the trade which is very clear, but Alice , about to leave their children and begin their road to maturity are you aware of it? For a while it does not seem so, the penny trick behind the ear is enough for her, but not dilated to notice that a currency is not much. Such a situation evokes at times the interpretation of Leslie Caron as Lili in the eponymous film Charles Walters (1953).
The exit lurks all the time, keeps the dramatic tension through a question, voracious but sensible: "When will the pious final blow? Tatischeff feels that is very around so she decides to make his last great act, his will, in the person of Alice . Taking into account the work-acid, disenchanted, the Finnish director Aki Kaurismäki , Chomet sticks to the script dark written by Tati and facilitates the final staging, closing any possibility of return to forgotten glory years.
If at first relate to the director with the protagonist in both magicians from their respective offices at the end, we identified more similarities than in the first instance is kept hidden, like the idea of \u200b\u200bputting the art of money or any other good material, dignity and pride for doing what they want despite the adversity.
Jaques Tati suffered the ravages of such circumstances and by the end of his career bankruptcy was their main obstacle in trying to keep filming. For his part, one would think that everything is hunky-dory for Sylvain Chomet quite the contrary, in 2004 founded in Edinmburgo, Django Films, an own animation studio with the hope of opening field in the film world that today exists only because of lack of funding. All indicates that reality is always the same: the art as crime never pay.
Sheet:
Address: Sylvain Chomet ; Screenplay: Jacques Tati, Henri Marquet, Sylvain Chomet; Production: Bob Last, Sally Chomet; Music: Sylvain Chomet; Distribution: Warner Bros. / Pathe, Sonny Pictures Classics; Country: United Kingdom, France, Year: 2010; Duration: 80 '
LIllusionniste The Illusionist Sylvain Chomet Jacques Tati Django Films
