Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) are two apprentice magicians. Their friendship turns to rivalry when, during a performance, the alleged negligence of Borden will cause the death of Julia (Piper Perabo), Angier's wife. Looking for the perfect prestige, the obsession will make them ruthless. Degree in creating a twilight and directing the actors skillfully, flipping and playing with our idea of \u200b\u200bjustice on the characters, Nolan set his film in the late nineteenth century. Speaking of illusions, reflections metacinematografiche are almost taken for granted. As environments fin-de-siecle vogue have a suspicion of change taking place, or expectations. Such was the dreadful end of the world at the dawn of the second millennium, but, more often, the new century will require progress in science and technology.
The film satisfies most of these expectations and condensate in the figure of Tesla (David Bowie is a very charismatic), the surprise and admiration for a scientific mind that, at the very moment that undermines the success of the negating the prestige ' illusion (the illusion of magic becomes reality of "magic") immediately gives us the confidence of wonder.
In The Prestige, it is clear as the search for perfection, pure illusion, Angier and Borden costs at a price. Both must come to terms with his double, but while Borden accept it as a part of himself, he is terrified of Angier and destroys it. But the fate of both is similar
o. If the first having had to sacrifice lives on Fallon, the second die because he never wanted to see himself in his own double. And in any case, it is death. Lacan were among the stages of self-worth that of the mirror. Widely relayed to psychoanalytic theory-film to justify the identification and, conversely, the voyeuristic pleasure of the spectator in the cinema. Angier in the film is taken several times in the mirror, and the suggestion of a multiple image is resolved in his final scene of death. As if to say, though his reflexes were multiple, the total refusal to accept them as part of the sentence itself to death. As well as his not wanting to accept the solution requires the prestige of not passing this phase to the next. After the prestige is the applause. And the lack dell'applauso final cage is the eternal illusion.
Returning to considerations about the film itself, curiosity leads me to discover that the 1899, about the year of the filming, was also the year of birth of Gloria Swanson (the most deadly and metacinematografico then there can be Sunset Boulevard ?), Humphrey Bogart (typical face of film noir) and Alfred Hitchcock (superfluous addition of the comment). Representatives of a cinema that makes dialogue with himself, the questioning of its status and especially cinema that takes itself a terrible omen of death.
Nolan takes the viewer to the origins of the illusion and then destroy it. As the child to whom Cutter (Michael Caine) shows the magic, the audience is completely enchanted and kidnapped by the trick, but his re
veil you can not but think that the time-illusion of the cinema of illusion- has disappeared ( The bird is dead, says the grandson of Sarah). The cinema has revealed his tricks risk, to date, the death of cinema itself as a potential magic effect. But is it really? With Borden that go away with his daughter, and his face on the screen of the doubts Cutter become pressing. Are we really willing to give up the prestige now that we know the sacrifice that entails? Tesla's technology was illusionism as more and more innovative technology grafts are the movies of today. But there still remains the fact that although there is the illusion, once discovered that the human transport is really possible, the viewing experience remains. And the duplication and the eternal change of makeup become the way of salvation delusion, why Borden can take his daughter by the hand and continue their lives. So the play is the essence of cinema, guaranteed perpetual illusion primordial enrichment. The prestige is achieved with the death of a part of the self that is lost in the moment in which the illusion triumphs. And sacrifice for the viewer is giving up the rational part in the struggle with the need for child fooled. But it is a sacrifice because without pain, stronger, still the wonder of prestige.
RECIPE.
I received request to provide space for moderate calorie recipes. This time, therefore, stifle the desire to bring a food that, for some reason, fits in well with the concepts of illusion, magic, 1800 and counsel of biscuits to go with a good tea in London.
aniseed biscuits
1 cup of anise tea
50g raisins
400g wholemeal flour 1 egg
20g
olive oil 3 tablespoons honey
Prepare the anise tea. Soak the raisins in warm water for half an hour. Place the flour on a board with a central oil, honey and egg. Knead adding anise infusion in small increments. After 5-10 minutes of energetic mixture, drain the raisins, frullatela and add it to the whole. Let stand half an hour after that roll out a sheet of 3-4mm thick. Cut out cookies in the shapes you like, bake on an oiled and floured baking pan for 20 minutes in preheated oven at 200 degrees.
http://www.adieta.it/
1 cup of anise tea
50g raisins
400g wholemeal flour 1 egg
20g
olive oil 3 tablespoons honey
Prepare the anise tea. Soak the raisins in warm water for half an hour. Place the flour on a board with a central oil, honey and egg. Knead adding anise infusion in small increments. After 5-10 minutes of energetic mixture, drain the raisins, frullatela and add it to the whole. Let stand half an hour after that roll out a sheet of 3-4mm thick. Cut out cookies in the shapes you like, bake on an oiled and floured baking pan for 20 minutes in preheated oven at 200 degrees.
http://www.adieta.it/
0 comments:
Post a Comment