As a boy, growing up in Vienna, Eisenheim the Illusionist (Edward Norton) found that he had a natural gift for magic track and illusions. One day, while practicing one of his tricks, he meets the Douchess von Teschen (Jessica Biel). They are forbidden to see one another, and forcibly separated. Years later, Eisenheim, now an accomplished stage magician, begins performing in a theater in Vienna. He is soon reunited with Sophie, now engaged to crown Prince Leopold (Rufus Seawell), and the two begin an affair. Shortly thereafter, Leopold learns of the affair and Sophie is found dead. Eisenheim resolves to use his powers, and his position as a famous stage magician, to prove that Leopold is the killer and avenge Sophie.

There are two story arc's at work in The Illusionist; Eisenheim's attempts to prove who killed Sophie, and Uhl's (Paul Giamatti) attempts to figure out how Eisenheim's illusions work so he can protect Leopold's reputation. These two arcs generate a great deal of suspense, political intrigue, and quickly turn Eisenheim and Uhl into likable and relatable characters. The story is well-written and mysterious enough to keep viewers engaged until the stunning conclusion.

Norton does an excellent job as Eisenheim and Beil does an excellent job as Sophie. Giamatti, however, steals the show as inspector Uhl. Uhl is compelled to arrest and prosecute Eisenheim but, at the same time, respects and empathizes with him. Giamatti brings this duality to live with vigor, and makes Uhl a sympathetic and relatable character. Even though he is Eisenheim's main antagonist, he remains a likable character.

Leopold is probably the weakest character. Seawell's acting is fine, but the character himself isn't quite as interesting as he might have been. Despite being the primary suspect in Sophie's murder, there are times when he seems emotionally disconnected from events. Initially, he plays a believable jealous husband and suave aristocrat. At the end, he plays a believable panicked murder suspect. At other times, however, he sometimes feels flat. Never uninteresting, never unimportant, but not as emotionally-developed as he could have been.

The film will keep you in suspense until the fantastic ending passes and the credits roll. The superb acting and interesting story may bring you back for additional screenings, even if you know how the mystery ends.

The setting is good; 19th century Vienna looks like 19th century Vienna.

Eisenheim's tricks are accompanied by special effects that are detailed enough to make him look impressive, but subtle and simplistic enough to make his tricks look possible. The viewer is supposed to question whether Eisenheim's illusions are really illusions, or the result of supernatural powers. The special effects allow for both interpretations.

Like a true stage magician, he's always on the cusp between fantasy and reality; between truth and trickery.

The heavy orchestral score is good, but can feel a bit overdramatic at times. Overall, it does a good joy of conveying the mystery, romance, and suspense of the film. It also blends in well with the setting (I buy that music like this was probably popular in 19th century Vienna).

I'm actually listening to the soundtrack even as we speak, and complaining to Krunal about how there are only thirty second segments available on Rhapsody unless you buy the whole album.