Christopher Nolan was not today's Christopher Nolan. Although he cut his teeth as a Batman Tentpole director a year earlier, Nolan did not enter that film with the intention of launching a trilogy. Nor, if he shows how he deals with a big budget traders exclusively. Even at "Batman starts", Nolan did not delete the way artistic painting on a smaller canvas and used basic cameras settings for most of the action (which I am sorry to say, is why most film fights are in a chaotic scatter).

This did not radically change with his monitoring, the "prestige", but the film was still a crucial spring stone in his Lovebean connection with the IMAX and the more dynamic shooting style he accepted in the years that followed. The 2006 piece tells a small story of two rival magicians in a way that makes him feel like an EP, in no small part thanks to director of the photography Welly Pfister. Go to Nolan's DP for the first decade of his directorial career causing some dark, amazing visual here, not the least of which is the haunting last blow. It is a picture that serves as a frightening highest passage of the film's obsession film and its comprehensive nature, a theme that Nolan returned again and again in its Over.

More than that, the "prestige" marked the point when Nolan's artistic fixations and narrative tendencies began to fully crystallize; It includes his fascination with ways of time, space and memory shape our perspective, as well as the motive of parents that support hell for reunification with their children. Maybe that's why nowadays, it's easy to forget Nolan's film was just a little A more popular film about 19th -century magicians with a huge twist on the plot to get out of that year.

Sometimes the phenomenon of duels films - where two films with incredibly similar rooms publish near each other - is the result of deliberate malice, as was the case When Pixar's "Anc" and "Antz" "Antz" moved away from just 49 days separately. However, at other times, there is obviously something in the water, as it seems to have been the case when Nolan's "prestige" debuted just 63 days after Neil Burger's "illusionist" arrived to close the 2006 summer treasurer.

"Prestige", in particular, was already on the move a few years earlier, with Nolan officially attaching Hugh Christian Bale and Hugh Jackecman in April 2003 (Per Diversity). Both films are also dramatically different after you overcome the similarity of the surface level. The "Illusionist", in particular, tells an amazing, romantic story of a renowned Austrian magician (Edward Norton), who is trying to save his children's Loveubov (Essesica Bill) from the malicious crown Prince (Rufus Sivee) to whom he does not want to engage. That the couple is only in this situation because of their different social status makes the classic story of the Lovers' longing, kept by society itself.

Classic tensions stimulate the story in the "prestige". Where Bale's illusionist comes from the background of the working class and thus gives the priorities of his skills, above all, the Jackecman's magician is born in wealth and privilege (a fact that he shamefully retains at a low level) and, as such, has a serious understanding and appreciation. But where the "Illusionist" is in the end melodrama that creates a shiny, amber image of Vienna in the late 1800s, "Prestige" is a story of Feuda with revenge for revenge as cold and horrible as the vision of the film in London at the end of the 20th century.

Perhaps that is why the films did not gather at the "prestige" quite the way anyone would expect Nolan's heels of Nolan's heels with Batman.

In the end, Nolan set aside a win in the clash of magical films, but only that. "Prestige" made more money in the box office Than the "Illusionist" ($ 109.7 million versus $ 87.9 million), but the last one was probably more profitable thanks to a $ 16.5m budget, as opposed to a $ 40 million in (still modest). Their spoiled tomato results are also uncertain close, with the "prestige" landing Score for critics of 77 percent Against 73 percent for the "illusionist". However, in return for the events that Nolan himself would appreciate, the time spent suggesting that the "prestige" lasted in our collective memories much longer.

But maybe that should have been expected. Even at the time of the publication, the "illusionist" feels a little slim. Despite inspiring inspiration from The Meyerling incident (A real life scandal involving Rudolph, the Krunian Prince from Austria), Burger's film has no depth as a political allegory. Its great twist is also telegraph to the degree that becomes sort of impossible no Suppose in advance, while Norton was honestly having no chemistry to sell their romance with a Starwar. (Paul Amamati and his sexy beard, as a conflicting chief inspector who entangled all of this attractive affair is innocent, of course.)

The "prestige", on the other hand, has a layers of meaning that will take you roasting for a long time after it is over. It is also The nearest Nolan came to make a horror movie In his early years and offers a lot to chew out of his own huge secret. (One that, Yes, Can Be Guessed Ahead of Time, But That's No-So-Subtly The Point.) And as a great Has more to work with than "The Illusionist" (which struggles to stretch its own source materialist, "Far enough to Sustain an whole characteristic).

However, I do not want to beat the "illusionist" too much. After all, it is well -made, ambitious, low to middle budget mainstream theater film made for adults. Can you imagine getting two of those in as many months in 2025? Now that's what I would call a magical trick.