No matter how many silent films one watches, the differences in how stories are told compared to modern pictures never cease to amaze. Some titles go about their narrative and plot development very fluidly and naturally, but then there are instances in which the laying out of story beats are Just So, almost skipping from A to C (or D). Take for example the sudden blossoming of romance; the unexplained method by which characters come upon necessary information; the bizarrely specific requirements of what an enterprising and unscrupulous individual is attempting to achieve. More curious still is when a picture is so lackadaisical about exposition and early scene writing that the core plot seems weirdly sidelined. All this is true of Rex Ingram's 'The magician,' as it lays out certain foundations for the plot with a decided brusqueness while also taking its good time to especially go anywhere. Once the tale does pick up it's duly satisfying, and enticing - but I can understand the difficulty other viewers may have with the feature, above all those who don't ordinarily engage with the silent era.
The narrative that emerges is one of desire, ambition, and exploration of the bounds of the natural world as they collide with the unnatural. By the standards of cinema at any point in subsequent years the result is less than gripping or thrilling, yet it's nonetheless engrossing, and tense and disquieting in accordance with the storytelling sensibilities of the 1920s. 'The magician' also gets more mileage out of the root premise than I'd have assumed, doing so in no small part by drawing out the machinations of the titular character rather than zeroing in on his greatest aspirations. For any shortcomings in how it first presents, ultimately the story is compelling; one recognizes a sense of horror that gradually shifts from more esoteric and thematic to actual - impactful all the while - and definite tropes that have been part of the genre practically since its inception.
If the screenplay has its moments of weakness, in other regards 'The magician' is solid without a doubt. The filming locations are splendid, as are the production design and art direction. The effects employed here, relatively modest, are excellent all the same, as is the keen editing that helps to build atmosphere and which also effectively takes the place of where special effects might be employed in more modern titles. Ingram and his collaborating directors illustrate a rapt eye for shot composition, including fine use of lighting; shots and scenes are orchestrated very well generally, with the climax surely being the most captivating part of all. And while star Paul Wegener might strangely be the least impressive of anyone here, broadly speaking the cast is terrific in bringing their characters to life, and the feature as a whole.
What we have when all is said and done is a classic that is unfortunately a bit slow at the outset, but as the length advances it shows its worth. There are, after all, airs of tension, suspense, and atmosphere, and one can recognize a through line from still earlier horror in film, to this, to genre flicks of the 30s and beyond. And regardless of labels, one way or another, at length 'The magician' comes off with strength and intelligence that it just takes some time to incubate. Recommended specifically for fans of the silent era, this still holds up fairly well almost 100 years later, and is worth checking out for those who appreciate older films.
The narrative that emerges is one of desire, ambition, and exploration of the bounds of the natural world as they collide with the unnatural. By the standards of cinema at any point in subsequent years the result is less than gripping or thrilling, yet it's nonetheless engrossing, and tense and disquieting in accordance with the storytelling sensibilities of the 1920s. 'The magician' also gets more mileage out of the root premise than I'd have assumed, doing so in no small part by drawing out the machinations of the titular character rather than zeroing in on his greatest aspirations. For any shortcomings in how it first presents, ultimately the story is compelling; one recognizes a sense of horror that gradually shifts from more esoteric and thematic to actual - impactful all the while - and definite tropes that have been part of the genre practically since its inception.
If the screenplay has its moments of weakness, in other regards 'The magician' is solid without a doubt. The filming locations are splendid, as are the production design and art direction. The effects employed here, relatively modest, are excellent all the same, as is the keen editing that helps to build atmosphere and which also effectively takes the place of where special effects might be employed in more modern titles. Ingram and his collaborating directors illustrate a rapt eye for shot composition, including fine use of lighting; shots and scenes are orchestrated very well generally, with the climax surely being the most captivating part of all. And while star Paul Wegener might strangely be the least impressive of anyone here, broadly speaking the cast is terrific in bringing their characters to life, and the feature as a whole.
What we have when all is said and done is a classic that is unfortunately a bit slow at the outset, but as the length advances it shows its worth. There are, after all, airs of tension, suspense, and atmosphere, and one can recognize a through line from still earlier horror in film, to this, to genre flicks of the 30s and beyond. And regardless of labels, one way or another, at length 'The magician' comes off with strength and intelligence that it just takes some time to incubate. Recommended specifically for fans of the silent era, this still holds up fairly well almost 100 years later, and is worth checking out for those who appreciate older films.