Christopher Nolan Film The Prestige Arrives on Netflix

The Pledge: Borden looks like the villain

Your favorite Christopher Nolan movie probably depends on what you want from him. Memento remains his purest puzzle box. Tenet pushes his fascination with time to inscrutable extremes. Interstellar combines cosmic spectacle with raw emotional storytelling. The Dark Knight, meanwhile, channels Nolan’s cerebral instincts into a remarkably smooth superhero blockbuster.

The Prestige falls somewhere between them all. Nolan’s 2006 period thriller wraps an intricate puzzle around a deeply personal story about two rival magicians who destroy their lives trying to outwit and outperform each other. It is cerebral without becoming too heady, spectacular without losing its intimacy, and fantastical in ways that somehow feel historically plausible. Nearly 20 years after its theatrical release on Oct. 20, 2006, The Prestige streams on Netflix, and it may be the most Nolanesque of any Nolan movie without veering in any overtly extreme directions.

The Prestige opens on dozens of identical top hats scattered across a forest floor before cutting between two performances. Stage engineer John Cutter (Michael Caine) makes a bird disappear for a little girl, while Robert Angier (Hugh Jackman) performs an apparently impossible teleportation act for a packed theater. None of it makes any sense yet. By the ending, we understand that Nolan has already shown us the method, its terrible cost, and the stakes of a movie that is itself an elaborate and tragic magic trick.

Every magic trick, Cutter explains, consists of three acts. First comes The Pledge, in which the magician presents something ordinary. Nolan presents two talented young magicians working under Cutter in turn-of-the-century London.

Hugh Jackman plays Robert Angier, a natural showman who eventually performs as The Great Danton. Angier is charming, boisterous, and instinctively attuned to an audience’s desires. Once the curtain closes, however, that warmth gives way to something darker. Jackman lets Angier’s grief and obsession consume his charisma until the distinction between the man and his act disappears.

Christian Bale’s Alfred Borden is his perfect foil, a working-class English magician with enormous technical talent but little instinct for presentation. Performing as The Professor, Borden understands how illusions work but lacks Angier’s polish. He also appears to be withholding something from everyone around him. Bale plays that secrecy as an alternating mixture of warmth, hostility, and distraction, making Borden seem increasingly cruel and capricious.

As with many Nolan films, the supporting cast is impeccable. Caine grounds the movie as Cutter, a weary professional who understands that every impossible feat has a practical explanation. Rebecca Hall gives the story its emotional weight as Borden’s wife Sarah, who cannot understand why her husband loves her on some days and hardly at all on others. Scarlett Johansson plays Olivia, an assistant who gets entangled with both rivals. David Bowie plays Nikola Tesla. Angier and Borden’s rivalry turns vicious after Angier’s wife Julia (Piper Perabo) drowns during an escape act while they are still friendly rivals working together. Borden is the one to tie Julia hands, but when Angier demands to know which knot he used, Borden claims not to know. To Angier, that sounds like fatal negligence. To the audience, it makes Borden look like the villain Angier believes him to be.

Borden then goes solo and performs the Transported Man. He enters one cabinet, bounces a rubber ball across the stage, and instantly emerges from another cabinet in time to catch it. Cutter assumes Borden must be using a double, but Angier refuses to believe the answer could be so simple.

The Turn: Nolan disguises science fiction as history

The second part of a magic trick is The Turn. The magician takes something ordinary and makes it do something extraordinary like disappear or get sawed in half.

Desperate to discover Borden’s secret, Angier follows a misleading clue to Colorado Springs, where Tesla has been conducting experiments with electricity. Here, The Prestige quietly transforms from historical drama into science fiction, although its sci-fi feels closer to dark magic that corrupts the soul.

The transition is smoother than expected. Tesla occupies a strange place in cultural memory, a documented genius surrounded by stories of suppressed inventions and lost discoveries. Bowie’s Tesla is soft-spoken and otherworldly, a man who understands forces that ordinary people can barely perceive.

Angier spends a fortune commissioning a teleportation machine, but instead of transporting matter, it creates copies. This leads to that surreal pile of duplicated top hats and eventually somewhere much darker.

The Prestige: The monsters change places

The final act is The Prestige. Something that disappeared must return.

Angier begins as a tragically human man and effectively sells his soul for one great trick. Using Tesla invention, he launches his own Transported Man show, believing he cracked Borden secret. Each time Angier performs, he falls through a trapdoor into a locked water tank and dies, while a perfect copy materializes across the theater to receive the applause.

Borden’s trick, on the other hand, has nothing to do with sci-fi inventions. Alfred Borden is actually a set of identical twins living a lifelong con.

The brothers alternate between Borden and his assistant Fallon using a disguise. When one loses two fingers during a trick involving a gun, the other removes the same fingers. One loves Sarah, while the other loves Olivia. That explains why Sarah grows so suspicious. Her husband’s wounded fingers do not heal as they should, and there are days when he is completely indifferent to her. Not even she seems to fully realize that he is someone else entirely.

The movie telegraphs this through another magician early on. Cutter brings Angier and Borden to see an elderly Chinese performer produce an enormous bowl of water from beneath his robes. Angier searches for a hidden mechanism or illusion device, but Borden understands immediately. The magician carries the bowl between his legs at all times, maintaining the appearance of physical frailty whenever anyone might see him. His trick works because he never stops performing.

Borden recognizes that sacrifice because he and his brother have built their lives around the same idea. There is no distinction between their act and their existence.

Simple, maybe, but not easy.

Angier goes to even greater moral extremes. He becomes willing to destroy anyone, including himself, just to defeat Borden. Every time he steps into Tesla’s machine, he cannot know whether he will be the man drowning beneath the stage or the one materializing above the audience. Is he one, the other, or both?

That is the horror of Angier’s final trick. He knowingly walks toward his death every night, trusting that another version of him will continue receiving the applause even if it is not him.

Both magicians sacrifice themselves for their illusions, but in radically different ways. The Bordens divide one life between two men and gradually destroy everyone around them in the process. Angier ends one life to continue another, and literally creates a graveyard filled with versions of himself. It all comes to a head in a violent, tragic final flourish where all is revealed.

Nolan ultimately returns to the images with which he began. Cutter disappearing bird trick contains the entire answer. One bird is crushed inside the collapsing cage so that another can be triumphantly produced. Earlier in the movie, a young child sees through the trick immediately and asks where the bird brother went. Meanwhile, the adults applaud because they prefer the illusion.

That is what makes The Prestige so rewarding to revisit. Going in blind, it is virtually impossible to predict where the story will lead, even as Nolan bombards us with clues. Knowing the truth does not ruin the illusion. It reveals how meticulously everything was constructed. The Prestige remains Nolan’s most personal and precisely constructed twist. It shows us its secrets from the first scene. We simply do not understand what we are seeing because, as Cutter warns us, we are not really looking. We want to be fooled.

 

Source: Polygon