Сахна сыры және аңыздың құпиясы

2006 film by Christopher Nolan
the 1932 film

United Kingdom
United States
| gross = $109.7 million Jackman based his portrayal of Angier on 1950s era magician Channing Pollock. Jackman also portrays Gerald Root, an alcoholic double used for Angier's New Transported Man. Christian Bale as Alfred "The Professor" Borden / Bernard Fallon, a working class magician. While Nolan had previously cast Bale as Batman in Batman Begins (2005), he did not consider Bale for the role of Borden until Bale contacted him about the script. Nolan subsequently believed that Bale was "exactly right" for the part and that it was "unthinkable" for anyone else to play it. Michael Caine as John Cutter, the stage engineer (ingenieur) who works with Angier and Borden. Caine had previously collaborated with Nolan and Bale in Batman Begins. Nolan noted that the part had been written "before I'd ever met" Caine. Scarlett Johansson as Olivia Wenscombe, Angier and Borden's assistant. Nolan was "very keen" for Johansson to play the role, and when he met with her to discuss it, "she just loved the character". Bowie accepted after a few minutes. Ricky Jay as Milton the Magician, an older magician who employs Angier and Borden at the beginning of their careers. Jay and Michael Weber trained Jackman and Bale for their roles with brief instruction in various stage illusions. The magicians gave the actors limited information, allowing them to know enough to pull off a scene. and subsequently, producer Valerie Dean brought the book to Nolan's attention. A year later, the option on the book became available and was purchased by Aaron Ryder of Newmarket Films. In the script, the Nolans emphasized the magic of the story through the dramatic narrative, playing down the visual depiction of stage magic. The three act screenplay was deliberately structured around the three elements of the film's illusion: the pledge, the turn, and the prestige. "It took a long time to figure out how to achieve cinematic versions of the very literary devices that drive the intrigue of the story," Christopher Nolan told Variety: "The shifting points of view, the idea of journals within journals and stories within stories. Finding the cinematic equivalents of those literary devices was very complex." Although the film is thematically faithful to the novel, two major changes were made to the plot structure during the adaptation process: the novel's spiritualism subplot was removed, and the modern day frame story was replaced with Borden's wait for the gallows. Following the release of Batman Begins, Nolan started up the project again, negotiating with Jackman and Bale in October 2005. While the screenplay was still being written, production designer Nathan Crowley began the set design process in Nolan's garage, employing a "visual script" consisting of scale models, images, drawings, and notes. Jonathan and Christopher Nolan finished the final shooting draft on January 13, 2006, and began production three days later on January 16. Filming ended on April 9. Crowley and his crew searched Los Angeles for almost seventy locations that resembled fin de siècle London. Jonathan Nolan visited Colorado Springs to research Nikola Tesla and based the electric bulb scene on actual experiments conducted by Tesla. Crowley also turned a portion of the Universal back lot into Victorian London. Osgood Castle in Colorado was also used as a location. Nolan built only one set for the film, an "under the stage section that houses the machinery that makes the larger illusions work," preferring to simply dress various Los Angeles locations and sound stages to stand in for Colorado and Victorian England. In contrast to most period pieces, Nolan kept up the quick pace of production by shooting with handheld cameras,
Editing, scoring, and mixing finished on September 22, 2006. Film critic Matt Brunson claimed that a complex theme of duality is exemplified by Angier and Borden, that the film chooses not to depict either magician as good or evil. Angier's theft of Borden's teleportation illusion in the film echoes many real world examples of stolen tricks among magicians. Outside the film, similar rivalries include magicians John Nevil Maskelyne and Harry Kellar's dispute over a levitation illusion. Gary Westfahl of Locus Online also notes a "new proclivity for mayhem" in the film over the novel, citing the murder/suicide disposition of Angier's duplicates and intensified violent acts of revenge and counter revenge. This "relates to a more general alteration in the events and tone of the film" rather than significantly changing the underlying themes. Nor is this theme of cutthroat competition limited to sleight of hand: the script incorporates the popular notion that Nikola Tesla and Thomas Edison were directly engaged in the war of the currents, a rivalry over electrical standards, which appears in the film in parallel to Angier and Borden's competition for magical supremacy. In the novel, Tesla and Edison serve as foils for Angier and Borden, respectively. Den Shewman of Creative Screenwriting says the film asks how far one would go to devote oneself to an art. The character of Chung Ling Soo, according to Shewman, is a metaphor for this theme. Film critic Alex Manugian refers to this theme as the "meaning of commitment." Nicolas Rapold of Film Comment addresses the points raised by Shewman and Manugian in terms of the film's "refracted take on Romanticism":

Angier's technological solution—which suggests art as sacrifice, a phoenix like death of the self—and Borden's more meat and potatoes form of stagecraft embody the divide between the artist and the social being. For Manugian the central theme is "obsession," but he also notes the supporting themes of the "nature of deceit" and "science as magic." Manugian criticizes the Nolans for trying to "ram too many themes into the story." The film earned $14.8 million on opening weekend in the United States, debuting at #1. It grossed $109 million, including $53 million from the United States. as well as a nomination for the Hugo Award for Best Dramatic Presentation, Long Form in 2007.

On review aggregator Rotten Tomatoes, the film holds an approval rating of 76% based on 202 reviews, with an average rating of 7.1/10. The website's critics consensus reads, "Full of twists and turns, The Prestige is a dazzling period piece that never stops challenging the audience." Metacritic assigned the film a weighted average score of 66 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale. Claudia Puig of USA Today described the film as "one of the most innovative, twisting, turning art films of the past decade." Drew McWeeny gave the film a glowing review, saying it demands repeat viewing, with Peter Travers of Rolling Stone agreeing. On At the Movies with Ebert and Roeper, Richard Roeper and guest critic A. O. Scott gave the film a "two thumbs up" rating. Todd Gilchrist of IGN applauded the performances of Jackman and Bale whilst praising Nolan for making "this complex story as easily understandable and effective as he made the outwardly straightforward comic book adaptation (Batman Begins) dense and sophisticated any truly great performance is almost as much showmanship as it is actual talent, and Nolan possesses both in spades." CNN. com and Village Voice film critic Tom Charity listed it among his best films of 2006. Philip French of The Observer recommended the film, comparing the rivalry between the two main characters to that of Mozart and Salieri in the highly acclaimed Amadeus. On the other hand, Dennis Harvey of Variety criticized the film as gimmicky, though he felt the cast did well in underwritten roles. Kirk Honeycutt of The Hollywood Reporter felt that characters " are little more than sketches. Remove their obsessions, and the two magicians have little personality." Nonetheless, the two reviewers praised David Bowie as Tesla, as well as the production values and cinematography. On a simpler note, Emanuel Levy has said: "Whether viewers perceive The Prestige as intricately complex or just unnecessarily complicated would depend to a large degree on their willingness to suspend disbelief for two hours." He gave the film a B grade. Roger Ebert gave the film three stars out of four, describing the revelation at the end as a "fundamental flaw" and a "cheat." He wrote, "The pledge of Nolan's The Prestige is that the film, having been metaphorically sawed in two, will be restored; it fails when it cheats, as, for example, if the whole woman produced on the stage were not the same one so unfortunately cut in two." R. J. Carter of The Trades felt, "I love a good science fiction story; just tell me in advance." He gave the film a B−. Christopher Priest, who wrote the novel the film is based on, saw it three times as of January 5, 2007, and his reaction was "'Well, holy shit.' I was thinking, 'God, I like that,' and 'Oh, I wish I'd thought of that.'" The film has grown in stature since its release. In 2009, The A. V. Club named The Prestige as one of the best films of the 2000s. The film was included in American Cinematographer's "Best Shot Film of 1998 2008" list, ranking at 36. More than 17,000 people around the world participated in the final vote. In 2020, Empire magazine ranked it among "The 100 Greatest Movies Of The 21st Century".

The film score was written by English musician and composer David Julyan. Julyan had previously collaborated with director Christopher Nolan on Following, Memento and Insomnia. Following the film's narrative, the soundtrack had three sections: the Pledge, the Turn, and the Prestige.

Some critics were disappointed with the score, acknowledging that while it worked within the context of the film, it was not enjoyable by itself. Christopher Coleman of Tracksounds felt that though it was " a perfectly fitting score," it was completely overwhelmed by the film, and totally unnoticed at times. Christian Clemmensen of Filmtracks recommended the soundtrack for those who enjoyed Julyan's work on the film, and noted that it was not for those who expected "any semblance of intellect or enchantment in the score to match the story of the film." Clemmensen called the score lifeless, "constructed on a bed of simplistic string chords and dull electronic soundscapes." The song "Analyse" by Radiohead frontman Thom Yorke is played over the credits.

The Region 1 disc is by Buena Vista Home Entertainment, and was released on February 20, 2007, and is available on DVD and Blu ray formats. The Warner Bros. Region 2 DVD was released on March 12, 2007. It is also available in both BD and regionless HD DVD in Europe (before HD DVD was canceled). Special features are minimal, with the documentary Director's Notebook: The Prestige – Five Making of Featurettes, running roughly twenty minutes combined, an art gallery and the trailer. Nolan did not contribute to a commentary as he felt the film primarily relied on an audience's reaction and did not want to remove the mystery from the story. The film was released by Warner Bros. Home Entertainment on Ultra HD Blu ray on December 18, 2017, in the United Kingdom. The film was also released by Touchstone Home Entertainment on Ultra HD Blu ray on December 19, 2017, in the United States.