The Prestige — the cost of being better
A rivalry that gets more absorbing as it gets less reasonable. The craft is impressive, but the wounded pride makes it work.
A rivalry that gets more absorbing as it gets less reasonable. The craft is impressive, but the wounded pride makes it work.
Spoiler-free review.
The part of The Prestige I find most convincing is how quickly professional admiration can turn sour. These men care about their work, but being good soon seems less important than making sure the other man is worse off.
Hugh Jackman and Christian Bale give that rivalry different textures. Jackman has the ease of a performer who knows how to win a room; Bale is more closed off and abrasive. Neither makes obsession look particularly noble. Michael Caine brings a welcome plainness to their world, especially when everyone else is becoming harder to read.
Christopher Nolan moves between periods and perspectives with confidence. The structure asks you to pay attention, but there is usually an emotional reason to stay curious beyond simply wanting to solve something. A slight, a disappointment, or an injured ego can drive an entire scene.
Some of the dialogue about sacrifice announces the film’s concerns a little loudly. I also wanted the women to have more room beyond the damage caused by the rivalry. Those limits stand out in a film so careful about the men’s ambitions.
8/10. Cleverly constructed and compelling, with enough bitterness underneath the showmanship to give it weight. I would avoid reading any plot breakdown beforehand.
Directed by Christopher Nolan · 2006 · English. Film details · Poster source. Artwork © its respective rights holders.
A rivalry that gets more absorbing as it gets less reasonable. The craft is impressive, but the wounded pride makes it work.
— Desly