Sylvain Chomet’s The Illusionist

“Tati started where we left off.” — Buster Keaton

3-time Oscar nominee Sylvain Chomet matches the delicate charm of The Triplett’s of Belleville with what appears to be a captivating follow-up, The Illusionist. The visual and thematic influence of Jacques Tati is immediately apparent, so it’s no surprise that Chomet’s film is based on an unproduced script by the French Buster Keaton.

“…the pic is a thrilling exercise in retro aesthetics, from the pencil-and-watercolor look to the 2D animation that harks back to mid-1960s Disney (especially 101 Dalmatians) and the delicate lines and detailed backgrounds of Gallic animator Paul Grimault, to the details that perfectly evoke Scotland in the 1950s. All the same, the backgrounds here brim with little jokes that the long takes offer a chance to catch, such as the sight of lobster thermidor (with a fried egg on top and haggis) on offer at a fish-and-chips shop.

“As much as it is a tribute to Tati (the pic is dedicated to his daughter Sophie Tatischeff, who sanctioned the film but died before she could see it), “The Illusionist” is also a love letter to Scotland and Edinburgh in particular.” (Variety)

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Viewers whose heart strings resonated at the sight of WALL-E enjoying his ancient cassette tape of Hello, Dolly! will almost certainly appreciate the beautifully crafted nostalgia that permeates The Illusionist. The film is bathed in self-aware melancholy, lightened by slow-burn humour and a sensibility rooted in silent-era filmmaking. Its 2D imagery (with a smattering of 3D props) simply couldn’t be better – there is always plenty to look at, all of it magnificently rendered. (ScreenDaily)

Several exquisite still frames after the cut.