This off-screen monologue by Cutter 1 , introducing his young protégé to the specifics of the profession of an illusionist, begins and ends the film. Thus, it is "Prestige" in the specific, variety sense of the term that becomes the very first-class secret that competitors are hunting for, sparing neither the rival, nor themselves, nor relatives. According to Christopher Priest himself, the notorious Sam Mendes 2 asked the writer to adapt his novel of the same name for the screen. However, the novelist preferred another promising young director, also an Englishman by origin, an ardent admirer of the first two works of which he has long been. As a result, Christopher Nolan, having written the script together with his brother Jonathan, partly returned to the problems of his most recognized work - "Remember" / 2000 /, which was forced to be left in the following, more commercial productions. However, it would be naive to declare "Prestige" a self-repetition and even an attempt to reflect the same complex, almost immense topic on a more high level- with access to a historical perspective. The very intricate structure of the mentioned thriller worked on the main idea, helping to display the specifics of the perception of a split, constantly elusive world. The peculiarity was that the cause of the suffering of the protagonist, struck by a rare form of amnesia, still belonged to the area of the unconscious. At the level of consciousness, he every time (literally every ten minutes!) re-discovered the surrounding reality for himself, with great difficulty suppressing the feeling of horror in his soul before meeting with the Unknown. How is the new painting different?
The Prestige isn't just about the rivalry between Angier and Borden. Two people who, like no one else, were aware of the limitations of human perception. In other words, at the level of consciousness (and not just intuitive knowledge), they were aware of the strength and power of such a phenomenon as illusions. Actually, all life, and not only professional activity both of them were dedicated to a single purpose. The creation of these same illusions, and as a result, the disclosure of their secrets from the opponent. The story begins with the fact that while performing another dangerous trick, Robert's beloved wife, Julia, dies (through Alfred's fault). But personal motives are gradually subordinated to the same, boundless desire to become the greatest master of illusions. To appreciate the degree of Angier's obsession, it is enough to recall the episode where he persuades his personal assistant and mistress Olivia Wenscombe to go to work for Borden. But if the plot was limited only to this ...
Nevertheless, the events narrated by Christopher Nolan are not accidentally placed in such a significant historical context. The turn of the century (turn-of-the-century) is not just chronological, but also cultural and historical. And thus, Angier and Borden are fighting for prestige in the broadest, most global sense. In the second half of the action, the figure of the famous Nikola Tesla 3 , the author of unique experiments on electromagnetism, even appears. The figure is largely symbolic, almost symbolic in relation to which path all of humanity will choose in the future. How natural is the appearance of a request to him to design a machine capable of capturing the imagination of the audience more than any trick, which is just a sleight of hand ... Here "Prestige" seems surprisingly consonant with the recent "Illusionist" / 2006 / 4, in which pop, and even quite an everyday phenomenon (an illusion as a banal optical illusion) suddenly became fateful. It had a decisive influence almost on the course of History, at least in regard to the policy of one of the most powerful empires in the world.
The finale in "Prestige", according to a recent tradition, dots the i's. It is the denouement that makes it possible to draw a conclusion about the depth of the author's intention and, in particular, about the same differences from "Remember". Not just sums up, but in many ways - serves as a rationale for the ingenious plot construction, built on an ornate combination of three temporary layers. Angier was convinced that he had finally remained the only, best and unique, having destroyed his rival in every respect. And thus, he knew the greatest prestige. Only Christopher Nolan (following the writer) mercilessly deprives the self-proclaimed master of illusions of his own, most important illusion. Conviction in one's own super-knowledge turns into a fiction. By the way, even paying tribute to the excellent game-rivalry of the two central “stars”, Hugh Jackman and Christian Bale, I will still highlight Sir Michael Caine. The existence of this outstanding British actor on the screen not only contributes to the emergence of a variety of purely cinematic associations, but also, it seems, to a large extent, serves to create the right atmosphere. "... and you realize that you are shocked by something that you have never seen before" - at least to a certain extent.
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1 - By the way, a clearly "speaking" surname. In literal translation, it means both ‘carver’, and ‘blade’, and ‘chisel’, and even – in a purely cinematic sense – ‘editor’.
2 - And, in principle, the dramatic structure of "American Beauty" /1999/ can vaguely resemble the whimsical unfolding of events in "The Prestige".
3 - In this guise, it looks extremely unusual David Bowie, known both as a singer and as an actor, often preferring strange, bizarre roles.
4 - Neil Berger's tape was released for about six months earlier painting Nolan, and the echoes between them not only at the plot and thematic level, but also, let's say, in the fact that both are based on literary works.
After watching it to the end, I did not even understand how this film makes me feel. On the one hand, the famously twisted plot sets you up for positive, on the other hand, it’s a completely stupid idea of Tesla’s technological achievements. Well, this belief of Americans infuriates me that some kind of machine is capable of doing anything, especially when such childish manners arise against the backdrop of a serious, dramatic, not at all conducive to science fiction situation. Nnda .. But we must pay tribute to the authors: even having sold us stupidity at the end, they framed it in a frightening seriousness, so you can close your eyes to this, focusing on main idea movie: What is more in the film: cruelty or lyricism, fiction or reality - I honestly did not understand this, but in principle I do not regret it. Don't mind wasting your time. 9 out of 10. |
Just want to give praise to the actor Hugh Jackman. When I saw him in X-Men, I thought that he was the perfect Wolverine and this image would stick to him for a long time. Then I saw him in some low-budget romantic comedy and was amazed at how he looked in his place there. Then there was "Van Helsing", which, of course, did not particularly let the dramatic talent of this actor unfold. And now "Prestige". It's amazing how easily this person gets used to the image of a wild animal or a sensitive guy who writes romance novels, or grim hero, or an aristocrat of the late 19th century. No matter how he plays, he always seems to be playing himself. A similar situation was with Renee Zellvager in "Chicago" - she reincarnated into her heroine so much that Zellvager herself was considered a silly dummy, but she was just brilliant acting work. The hero of Jackman at the beginning of the film stipulates that he does not want to compromise his family, but even without this reservation, aristocracy is visible in his every movement, in every word he feels education, which was then available only to the elite. And when an anonymous lord is announced in the story, it becomes quite clear who it is. The movie doesn't offer many surprises at all. I can not say that the plot twists are unpredictable - quite the contrary. To me, undivided by imagination, before each dramatic moment it was very clearly clear WHAT was about to happen. But this not only did not interfere with the perception of the film, did not kill its sharpness, but on the contrary, added tension - such a feeling of fatality and inevitability arose. |
I never thought that tricks are the same passion as alcoholism or, for example, gluttony. From the very beginning of the "duel", i.e. from the death of the wife of one of the heroes, it becomes clear that nothing good and bright is expected in this story. Everything is painfully barbaric. However, the plot is certainly enticing and ornate. I didn't even want to guess the moves. I don’t really like Hackman outwardly - he’s a very bad person (except in the image of Pushkin with claws), but here he is convincing, as well as Bale, who was loud and muzzled after The Machinist. Johanson - as always charming, although she always plays the same. Beautiful (and face identity) Michael Caine. And David Bowie was very surprised - “No .. it’s not him ..”, “Yes he is!” In general, you need to watch it once and it’s interesting, but there’s definitely no desire to revise it, because the impression is painful. So I want to say after the heroine E. Nightingale: "Gentlemen - you are animals!" |
“Each great magic trick consists of three acts. The first act is called "The Pledge": the wizard shows you something ordinary, but... it's probably not. The second act is called "the Turn": the wizard does something amazing with his ordinary thing. And now, once you start looking for a secret... you can't find it, because that's what the third act, "The Prestige" is for. This part is with tricks and twists, when life is on the scales, and you realize that you are shaken by something that you have never seen before ... This off-screen monologue begins the film, but it immediately grabs your attention to the screen. These words are spoken against the backdrop of the fact that Carter shows a trick with the disappearance of a cage with a bird and then its subsequent appearance (the bird) to a little girl ... This begins and ends the film. the composition of the film is circular. But you can predict the denouement simply in a state of failure, although it seems to be at the beginning (a favorite trick is to show it seems like the end of the film, and then why it happened) everything seems clear. The Prestige isn't just about the rivalry between Alfred and Robert. Two people who have devoted their entire lives to performing tricks and illusions and revealing each other's secrets. They understood all the power contained in the illusion. The story begins with the fact that while performing another dangerous trick, Robert's beloved wife, Julia, dies (through Alfred's fault). After that, an uncompromising struggle for the first place to be called the best illusionist begins. They do nasty things to each other... they do tricks... Until one day Alfred decides to go down under the stage during one performance of Robert's trick... after which he is accused of killing the last one... and then it all starts.. In the second half of the action, the figure of the famous Nikola Tesla, the author of unique experiments on electromagnetism, even appears. The figure is significant in many respects... He constructs a machine for Robert at his request, which should amaze the minds of people... and attaches to it a note on how it works and his last wishes for using the machine "Destroy it"... |
spoilers! |
CAREFULLY! All sorts of SPOILERS. | 2013.04.01 |
Luko: Who are you? Illusions are the salt of the earth; this idea, expressed by one of the characters in the play by Khristo Boychev, would certainly have been confirmed by the heroes of the film "Prestige". With the only clarification that illusions are salt, and sugar, and the gut, and other parts of the body, life, if not life itself. Everything is illusory: the happiness of the people who perform, because the magic of the show requires its victims; the tricks themselves are illusory - otherwise they wouldn't be tricks; the audience's ideas about what is happening on the stage are illusory... The theater of magic and the magic of the theater are something that most modern magicians, alas, fail to convey in their performances. However, looking at what the heroes of the film do to themselves, then maybe it's for the best: after all, "a sacrifice is the price for a good trick." Actually, I'm far from a fan of Nolan the director, but if this film is not worthy of a place in the list of "Hundred best films"I really don't know what is worthy of it... |
Among films about magicians "Prestige" occupies a special place. He is, in his own way, a modern American founder for a whole genre. From time immemorial, the world community wanted to unravel the secrets of the greatest illusionists, and often the plots of films were built not only on a chain of ordinary actions called a riddle, but also on something really connected with magic.
Magic as the key to success
The British writer Christopher Priest was inspired by the American magician William Robinson and his rivalry with the Chinese fire-eater Jin Lingfu. This formed the basis of the future mystical novel "The Prestige". Subsequently, Robinson adopted many tricks from him, remaining a leader in the field of special, exotic illusions, such as beheading or catching a bullet. During one of the tricks, he died. The meaning of the film "Prestige" is quite simple - the authors took the story from the book as a basis. However, the place of action changed dramatically.
Illusory adaptation of Christopher Nolan
The name of the English director is known to the whole world, and only a few people know that Nolan began to experience his love for science fiction after watching “ star wars” at the age of seven. Since then, he has not stopped thinking about her, and when Christopher Priest's novel fell into his hands, he realized that this was his chance. The 2006 film The Prestige was the first fantasy adaptation since Batman Begins, which Nolan wanted to direct later. However, Warner Bros. long time was looking for someone who would be able to restart the brand of a famous defender and fighter for justice, so the venture had to be postponed until next year.
Prestigious co-authorship
Once Batman was completed, Nolan immediately set to work on a new project. The film about magicians "The Prestige" united him with his brother Jonathan. In particular, they thoroughly reworked the key storylines, removing the features of modernity, and transferred the characters to the past. They also changed the acquaintance of the main characters, who later became competitors: for example, in the book they did not know each other before the confrontation, but in the film they made friends long before their enmity.
Combination of different genres
Creating a picture, I thought about how to intrigue the viewer, just as Christopher Priest did. The novel during 1995-1997 was repeatedly nominated for various literary awards. The director also included the detective character of the future tape with the dramatic and tragic friendship of the characters, not forgetting to season with an impressive portion of the components of a real thriller. This is how the film “The Prestige” came about. The description of the painting largely coincides with the book, but Nolan takes the viewer to the previous two centuries, showing the rivalry of illusionist magicians Alfred and Robert. Their once-born friendship and “kind” competition played bad joke, growing into real war not for life, but for death. To learn the secrets of each other's unimaginable tricks, they are ready to go to any lengths to disrupt performances. Slowly but surely, the confrontation takes its toll on the people around them. The peculiarity of the film is not in a consistent narrative, but in a series of changing flashbacks that throw the viewer across different time periods.
Premiere and success
The film was screened at the Rome Film Festival in October 2006 and was later released to the general public and on DVD. Russian viewers saw the picture a few months later, but she herself, like the main characters, entered into a serious struggle with her main competitor - “The Illusionist” by Neil Berger, who came out almost simultaneously with her. Thus, films similar to "The Prestige" were replenished with another creation about the life of magicians. And yet the success of "Prestige" was unconditional - two nominations for "Oscar" and a budget payback of more than 2.5 times.
The most important confession
And yet - audience love and rave reviews from critics. It became a big studio project, despite the lack of scale, as Nolan had previously with "Batman", and with an inherent share of special effects, without which to show fantastic stunts it would be impossible. Nevertheless, the director tries to involve as little as possible computer graphics, bringing illusory magic closer to reality, putting their harmonious combination into the film "Prestige". Feedback from the audience said that it turned out to be interesting, because such topics always capture the imagination.
What's the idea?
Thanks to the picture, viewers will recognize the main components of any trick. "Bait" shows the item itself, with which the magic will happen. In "Transformation" the trick itself takes place, and only the last return of the original item was called "Prestige". It is mentioned in commercial movie, implying a trick in which the audience is unable to solve its mystery. The original novel includes an additional meaning, which has a more mystical mood in comparison with what is characteristic of the Prestige film itself. Description and solution of the double idea, the audience can learn from the novel.
When creating the picture, Christopher Nolan was guided by the idea that most viewers might not like it. The point was the narrow focus of the genre. Unlike other similar films, here the plot is not built around exposure, but around the very life of the main characters. This is a movie with deep undertones. Fascination is combined with dynamism, resulting in a bright and perfect film "Prestige". Reviews of those who looked at the picture, for the most part, are reduced to a consensus regarding its magnificence. In particular, the confrontation is not limited to the main characters alone. Almost all of them are a little crazy in their own way, the question remains, to whom to express sympathy, and to whom sympathy. The correctness of both duelist magicians is based on an obsession with what they love, therefore it is extremely difficult to choose between them - and is it worth it if the film does not suggest such a thing?
According to statistics and personal perception of the audience, a huge part of the paintings published in recent times little impressive. In this case, the impression is not due to the subsequent guessing of the plot. The expectation of what the outcome will be is an important component that the film “The Prestige” has absorbed. Reviews of those who watched the picture are advised to wait for the finale, as it leaves a pleasant aftertaste, from which the viewer will still be in a slight euphoria for some time. Truly a remarkable property for a movie! In addition, someone will be able to unravel a few secrets ahead of the denouement, and in any case, the final will not leave you indifferent.
Everything is relative
Obviously, when the viewer enjoys watching, he is satisfied with the whole film. Begging a logical question: what other films are out there that are similar to The Prestige? Viewers can give the answer. To some extent, David Fincher's Fight Club evokes associations with this picture. First of all, its psychology. Probably, “Prestige” should be attributed to those films, when viewing which there are no words, for all the genius of the plot, it changes every few minutes, showing through the prism of magic the realities of ordinary life inherent in common man- a solid illusion in every minute lived and the constant need to stay alert. On the contrary, "Prestige" can show absolute, ideal misfortune. After all, some characters with their incredibly beautiful and enchanting lives, each of which is unhappy in its own way, can also be perceived as such.
The screen incarnation should not be an illusion
In preparation for filming, Christopher Nolan had long planned to give one of the roles to actor Jude Law. However, he could not do without his “favorite” Michael Caine, whom he shoots in almost every film. In The Prestige, he played scientist John Cutter. David Bowie, leaving the musical field for a while, appeared as the engineer-inventor Nikola Tesla, which his fans were incredibly happy about. The opposing magicians were played by Christian Bale and will appear in other roles over the course of the film. Piper Perabo played Robert Angier's wife Julia, and Scarlett Johansson played Olivia's assistant, which is also unusual for the actress's filmography.
At all, cast film can impress or even surprise any sophisticated viewer. As well as for each of them, the film “Prestige” may turn out to be a landmark in their career. Actors, as noted by the audience, did an excellent job with their roles. With a wonderful selection of their game gives impeccability and professionalism.
What else to see?
Returning to the theme of magic and magic, it is worth recognizing that there are few such paintings in modern cinema. Films like "Prestige" are created with relative frequency, but the most interesting, must-see, can be named. Dramatic thriller death number” with Catherine Zeta-Jones and Guy Pearce will tell about the life of a famous illusionist Woody Allen comedy film “Magic moonlight” will take viewers to the 20s of the last century, telling about the acquaintance and subsequent exposure of a popular magician and a young spiritualist. And finally, the detective thriller about the team of magicians “Illusion of Deception” will not be left without attention. The picture of 2013 was so successful that Hollywood plans to continue it soon.
Film "The Prestige". Reviews of a painting that does not have a flaw
This is the only way to describe the overall success of the film. If viewers are willing to leave reviews, then they are positive. Otherwise, “Prestige” is not evaluated at all, because its neutral state is invalid. In other words, you either like it or you don't.
Taking as a basis such a thin and dangerous line as magic and magic, going along with many mysteries and the threat of exposure, Christopher Nolan created a film about how this very magic is created. Plunging into its very depths, he brings back to the surface the interweaving of science and obsession, deceit and skill, reminding the viewer to be careful, allowing someone to take power over him. “Prestige” made the most of the entourage of the old era, including stunning costumes and the atmosphere of the old theater stage, as well as long intriguing stage versions of illusionists, whose tricks you just want to watch.
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Christopher Nolan co-wrote the screenplay with his brother Jonathan. They've reworked the plot of the book a lot; in particular, they removed the entire modern line, and also made Angier and Borden buddies even before their deadly confrontation. In the book, the main characters didn't know each other until their feud began. The film was released on October 20, 2006 and received good feedback, as well as two Oscar nominations for Best Cinematography and Best Production Design.
Plot
The plot of the popular novel by Christopher Priest was significantly reworked by the director's brother Jonathan Nolan. The story is not told sequentially, but is presented in the form of several layers of “flashbacks” (flashbacks) of the main characters.
Magician Alfred Borden(Christian Bale) convicted of murder Robert Angier(Hugh Jackman), his rival. Both worked as assistants to "The Illusionist Milton" (Ricky Jay) and engineer John Cutter (Michael Caine). Julia (Piper Perabo), Angier's wife, drowned while performing dangerous trick with immersion in water, and Angier blames Borden, who claims he does not remember if he tied her with the right knot. Both become bitter rivals, disrupting each other's performances. Borden performs under the pseudonym "Professor" with enigmatic engineer Bernard Felon, while Angier became "The Great Danton" with sweet assistant Olivia Wenscom (Scarlett Johansson) and assistant Cutter. Between them, a confrontation begins, which develops from professional rivalry into personal enmity. Angier sabotages Borden's bullet-catching gimmick, causing Borden to lose two of his fingers. Borden then ruins Angier's performance on the disappearance of the caged bird, injuring the viewer and killing the bird, damaging Angier's reputation.
Borden soon begins to perform an impressive stunt called "Moving Man" where he enters one door and exits a moment later through another on the other side of the stage. Angier and Cutter argue about how he does it. Cutter insists that Borden is using a doppelgänger, but Angier refuses to accept this, insisting that it's much more complicated than that. Angier begins to perform his own version of this stunt, using an out-of-work actor who looks like him, Ruth (also Hugh Jackman). The number works, but Angier has to be under the stage while Ruth enjoys the applause.
Angier sends Olivia to reveal Borden's secret, but she is tired of his obsession and betrays him by going over to Borden's side, with whom she begins an affair. She then brings Borden's coded diary to Angier, which supposedly contains the secret to his trick. Angier and Cutter kidnap Felon to force Borden to give them the key to his diary's cipher. Knowing that keyword is "Tesla", Angier travels to Colorado Springs to meet Nikola Tesla (David Bowie) and hire him to build a teleporting machine. Meanwhile, Borden's marriage is crumbling due to his obsession with work and Angier. After an argument with Borden, his wife Sarah commits suicide.
Angier finishes deciphering Borden's diary and discovers it is a fake, given to Olivia specifically for him. When Tesla's machine test fails, Angier accuses him of stealing his money for other experiments. However, he and Tesla soon discover that the machine works, but not as a teleporter. Instead, it creates a copy of the object at some distance (this is how a copy of a black cat and many copies of Angier's cylinder were created).
Angier returns to London, captivating audiences with what he calls "The New Man Move" by disappearing in a car and reappearing at the back of the auditorium. In reality, the machine creates a copy of it. The film does not say for sure whether the real Angier teleports or stays in the car, he himself does not know this. In any case, whoever remains in the car falls through a hatch under the stage and drowns in a water tank, which is then removed by blind assistants.
Borden saw Angier drown while spying backstage and tried to save him, but was caught and convicted of murder (the film's opening scene). In prison, Borden is visited by Lord Caldlow's agent, who offers to care for his daughter Jess in exchange for the secrets of his tricks. Borden receives Angier's diary and learns that his conviction was rigged. When Lord Caldlow arrives to retrieve the secrets, Borden discovers that he is Angier, somehow still alive. Borden tries to give away the secrets of his tricks, but Caldlow rips them open without reading them before leaving with Jess. On a final visit, Borden tells Felon to live for both of them, followed by Borden's execution.
Cutter learns that Caldlow bought all of Angier's stunts, including the car, and visits him to tell him that the car must be destroyed. Upon arrival, he learns that Caldlow is the living Angier and that Borden's death was planned. They then meet again at the Caldlow Theatre, where he moved the car. On the way back, he encounters Felon, who enters and shoots Caldlow. Felon (aka Alfred Borden) appears without makeup and tells the dying Caldlow that he is the hanged man Alfred Borden were twin brothers who pretended to be one person under the pseudonym "Alfred" and shared the same fate for two, loved both women. “I loved Sarah, he loved Olivia, we each had half our lives, and that was enough for us, but not for them.”
Albert leaves Caldlow to die while the fire destroys the building. The first scene of the movie repeats where the magician (now we know it's Cutter) performs a trick on the disappearance of the bird to a little girl (Jess). This time, the scene continues with Alfred coming and taking his daughter. At the last second, we see glass water tanks with sunken copies of him standing around the dying Angier.
Cast
| Actor | Role |
|---|---|
| Hugh Jackman | Lord Robert Caldlow/Robert Angier (Great Danton); Gerald Ruth |
| Christian Bale | Alfred Borden (Professor); Bernard Felon |
| Michael Caine | John Cutter John Cutter |
| Scarlett Johansson | Olivia Wencombe Olivia Wencombe |
| Rebecca Hall | Sarah Borden Sarah Borden |
| Andy Serkis | Ellie Mr Ellie |
| Piper Perabo | Julia McCulloch Julia McCulloch |
| David Bowie | Nikola Tesla Nikola Tesla |
Music
English musician and composer David Julian composed the score for the film The Prestige. Julian has previously collaborated with filmmaker Christopher Nolan on Remember and Insomnia. Like the film, the soundtrack was divided into three sections: The Bait, The Transformation, and The Prestige.
Some critics were disappointed with the film's score, acknowledging that it played well with the film but could not be a standalone album. Reviewer Jonathan Jarry from Portal SoundtrackNet called the soundtrack "just functional". merely functional), creating an atmosphere of fear, but not at all exciting. Although the reviewer was interested in the idea of a musical score for the film, Jarry felt that the performance was "extremely disappointing". extremely disappointing) .
Christopher Coleman from Portal Tracksounds opined that although the music was "a well-done musical side-by-side", it was completely absorbed by the film itself and became completely inconspicuous. Christian Clemmensen with Filmtracks recommended the soundtrack to those interested in the work of David Julian in the film industry, and noted that it is not for those who expected to find "in musical accompaniment any semblance of intelligence or enchantment appropriate to the plot of the film." any semblance of intellect or enchantment in the score to match the story of the film ). Clemmensen called the film's soundtrack lifeless, "built around simplistic string chords and dull electronic sounds." constructed on a bed of simplistic string chords and dull electronic soundscapes ) .
Release
- The film premiered on October 17, 2006 at the Rome Film Fest.
- The Prestige began theatrical release in the United States on October 20, 2006.
- Rolled in Russia - January 18, 2007.
Release in Blu-ray and DVD formats
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Notes
Links
- (English)
- "The Prestige"(English) on the Internet Movie Database
- (English)
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An excerpt characterizing Prestige (film)
This is the spirit of the army, that is, a greater or lesser desire to fight and expose themselves to the dangers of all the people who make up the army, completely regardless of whether people fight under the command of geniuses or non-geniuses, in three or two lines, with clubs or guns firing thirty once a minute. The people who have the greatest desire to fight will always put themselves in the most favorable conditions for a fight.The spirit of the army is a multiplier for the mass, which gives the product of force. To determine and express the meaning of the spirit of the army, this unknown multiplier, is the task of science.
This task is possible only when we stop arbitrarily replacing the value of the entire unknown X with the conditions under which force is manifested, such as: the orders of the commander, weapons, etc., taking them as the value of a multiplier, and recognize this unknown in all its wholeness, that is, as a greater or lesser desire to fight and endanger oneself. Only then, by expressing known historical facts in equations, from a comparison of the relative significance of this unknown, can one hope to determine the unknown itself.
Ten people, battalions or divisions, fighting with fifteen people, battalions or divisions, defeated fifteen, that is, they killed and took prisoner all without a trace and themselves lost four; therefore, four were destroyed on one side, and fifteen on the other. Therefore, four was equal to fifteen, and therefore 4a:=15y. Therefore, w: g/==15:4. This equation does not give the value of the unknown, but it does give the relation between two unknowns. And from subsuming various historical units (battles, campaigns, periods of wars) under such equations, series of numbers will be obtained in which laws must exist and can be discovered.
The tactical rule that it is necessary to act in masses during the offensive and separately during the retreat, unconsciously confirms only the truth that the strength of the army depends on its spirit. In order to lead people under the core, more discipline is needed, achieved only by movement in the masses, than in order to fend off attackers. But this rule, in which the spirit of the army is overlooked, constantly turns out to be wrong and especially strikingly contradicts reality where there is a strong rise or fall in the spirit of the army - in all people's wars.
The French, retreating in 1812, although they should have defended themselves separately, tactically huddle together, because the spirit of the army has fallen so that only the mass holds the army together. The Russians, on the contrary, tactically should have attacked en masse, but in reality they are splitting up, because the spirit is raised so that individuals strike without the orders of the French and do not need coercion in order to expose themselves to labor and danger.
The so-called guerrilla war began with the entry of the enemy into Smolensk.
Before the guerrilla war was officially accepted by our government, already thousands of people of the enemy army - backward marauders, foragers - were exterminated by the Cossacks and peasants, who beat these people as unconsciously as dogs unconsciously bite a runaway rabid dog. Denis Davydov, with his Russian intuition, was the first to understand the significance of that terrible club, which, without asking the rules of military art, destroyed the French, and he owns the glory of the first step in legitimizing this method of war.
On August 24, the first partisan detachment of Davydov was established, and after his detachment others began to be established. The further the campaign progressed, the more the number of these detachments increased.
The partisans destroyed the Great Army in parts. They picked up those falling leaves that fell of themselves from a withered tree - the French army, and sometimes shook this tree. In October, while the French fled to Smolensk, there were hundreds of these parties of various sizes and characters. There were parties that adopted all the methods of the army, with infantry, artillery, headquarters, with the comforts of life; there were only Cossack, cavalry; there were small, prefabricated, foot and horse, there were peasants and landlords, unknown to anyone. There was a deacon head of the party, who took several hundred prisoners a month. There was an elder, Vasilisa, who beat hundreds of Frenchmen.
The last days of October were the time of the height of the guerrilla war. That first period of this war, during which the partisans, themselves surprised at their audacity, were afraid at any moment to be caught and surrounded by the French and, without unsaddling and almost dismounting their horses, hid through the forests, waiting for every minute of the chase, has already passed. Now this war had already taken shape, it became clear to everyone what could be done with the French and what could not be done. Now only those commanders of the detachments, who, according to the rules, went away from the French with headquarters, still considered many things impossible. The small partisans, who had long ago begun their work and were closely looking out for the French, considered possible what the leaders of large detachments did not even dare to think about. The Cossacks and the peasants, who climbed between the French, believed that now everything was possible.
On October 22, Denisov, who was one of the partisans, was with his party in the midst of partisan passion. In the morning he and his party were on the move. All day long, through the forests adjoining the main road, he followed a large French transport of cavalry items and Russian prisoners, separated from other troops and under strong cover, as was known from scouts and prisoners, heading for Smolensk. This transport was known not only to Denisov and Dolokhov (also a partisan with a small party), who walked close to Denisov, but also to the heads of large detachments with headquarters: everyone knew about this transport and, as Denisov said, they sharpened their teeth on it. Two of these great detachment commanders - one Pole, the other German - almost at the same time sent an invitation to Denisov to join his detachment in order to attack the transport.
- No, bg "at, I myself have a mustache," said Denisov, after reading these papers, and wrote to the German that, despite the sincere desire that he had to serve under the command of such a valiant and famous general, he must deprive himself of this happiness, because he had already entered under the command of a Pole general, but he wrote the same to the Pole general, notifying him that he had already entered under the command of a German.
Having ordered in this way, Denisov intended, without reporting to the top commanders, together with Dolokhov, to attack and take this transport with his own small forces. The transport went on October 22 from the village of Mikulina to the village of Shamsheva. On the left side of the road from Mikulin to Shamshev there were large forests, in places approaching the road itself, in places moving away from the road by a verst or more. For a whole day through these forests, now going deep into the middle of them, then leaving for the edge, he rode with the party of Denisov, not losing sight of the moving French. In the morning, not far from Mikulin, where the forest came close to the road, Cossacks from Denisov's party captured two French wagons with cavalry saddles that had become muddy and took them into the forest. From then until evening, the party, without attacking, followed the movement of the French. It was necessary, without frightening them, to let them calmly reach Shamshev and then, connecting with Dolokhov, who was supposed to arrive in the evening for a meeting at the guardhouse in the forest (a verst from Shamshev), at dawn fall from both sides like snow on his head and beat and take them all at once.
Behind, two versts from Mikulin, where the forest approached the road itself, six Cossacks were left, who were supposed to report it immediately, as soon as new French columns appeared.
Ahead of Shamshev, in the same way, Dolokhov had to explore the road in order to know at what distance there are still others French troops. During transport, one thousand five hundred people were supposed. Denisov had two hundred men, Dolokhov could have as many. But the superiority of numbers did not stop Denisov. The only thing he still needed to know was what exactly these troops were; and for this purpose Denisov needed to take a tongue (that is, a man from an enemy column). In the morning attack on the wagons, things happened with such haste that the French who were with the wagons were all killed and only the drummer boy was captured alive, who was backward and could not say anything positively about what kind of troops were in the column.
Denisov considered it dangerous to attack another time, so as not to alarm the entire column, and therefore he sent the muzhik Tikhon Shcherbaty, who was with his party, forward to Shamshevo - to capture, if possible, at least one of the French advanced quartermasters who were there.
It was an autumn, warm, rainy day. Sky and horizon were the same color of muddy water. Now it seemed to fall like a mist, then suddenly it allowed a slanting, heavy rain.
On a thoroughbred, thin horse with tucked-up sides, in a cloak and hat, from which water flowed, Denisov rode. He, like his horse, which squinted its head and pursed its ears, frowned at the slanting rain and peered anxiously ahead. His face, emaciated and overgrown with a thick, short, black beard, looked angry.
Next to Denisov, also in a cloak and hat, on a well-fed, large bottom rode a Cossack esaul - Denisov's employee.
Esaul Lovaisky, the third, also in a cloak and hat, was a long, flat, white-faced, fair-haired man, with narrow bright eyes and a calmly self-satisfied expression both in his face and in his seat. Although it was impossible to say what was the peculiarity of the horse and the rider, but at the first glance at the esaul and Denisov it was clear that Denisov was both wet and awkward - that Denisov was a man who mounted a horse; whereas, looking at the esaul, it was clear that he was just as comfortable and at ease as always, and that he was not a man who mounted a horse, but a man together with a horse, one being increased by double strength.
A little ahead of them walked a sodden peasant conductor, in a gray caftan and white cap.
A little behind, on a thin, thin Kyrgyz horse with a huge tail and mane and with bloody lips, rode a young officer in a blue French overcoat.
A hussar rode next to him, carrying a boy in a tattered French uniform and a blue cap behind him on the back of a horse. The boy held on to the hussar with his hands, red from the cold, moving, trying to warm them, his bare feet and, raising his eyebrows, looked around in surprise. It was the French drummer taken in the morning.
Behind, in threes, fours, along a narrow, limp and rutted forest road, hussars were drawn, then Cossacks, some in a cloak, some in a French overcoat, some in a blanket thrown over their heads. The horses, both red and bay, all looked black from the rain streaming from them. The necks of the horses seemed strangely thin from wet manes. Steam rose from the horses. And clothes, and saddles, and reins - everything was wet, slippery and slushy, just like the earth and the fallen leaves with which the road was laid. People sat ruffled, trying not to move in order to warm the water that had spilled to the body, and not to let in the new cold water that was leaking under the seats, knees and necks. In the middle of the stretched-out Cossacks, two wagons on French and saddled Cossack horses rumbled over the stumps and branches and grunted along the water-filled ruts of the road.
The plot of The Prestige, the popular novel by Christopher Priest, was significantly reworked by the director's brother Jonathan Nolan. The story is not told sequentially, but is presented in the form of several layers of "flashbacks" (retrospectives) of the main characters.
Magician Alfred Borden(Christian Bale) convicted of murder Robert Angier(Hugh Jackman), his rival. Both worked as assistants to "The Illusionist Milton" (Ricky Jay) and engineer John Cutter (Michael Caine). Julia (Piper Perabo), Angier's wife, drowned while performing a dangerous diving stunt, and Angier blames Borden, who pretends not to remember if he tied her in the right knot. Both become bitter rivals, disrupting each other's performances. Borden becomes "The Professor" with enigmatic engineer Bernard Felon, while Angier becomes "The Great Danton" with sweet assistant Olivia Wenscom (Scarlett Johansson) and assistant Cutter. The trick from the beginning of the film was explained: the first bird dies and is replaced by a doppelgänger. Angier is furious when he sees Borden meet and marry Sarah (Rebecca Hall), who then have a daughter, Jess (Samantha Mahurin). Angier sabotages Borden's bullet-catching stunt, costing Borden two fingers. Borden then ruins Angier's performance on the disappearance of the caged bird, injuring the viewer and killing the bird, damaging Angier's reputation.
Borden soon begins to perform an impressive stunt called "Moving Man" where he enters one door and exits a moment later through another on the other side of the stage. Angier and Cutter argue about how he does it, Cutter insists that Borden is using the Doppelganger, but Angier refuses to agree, assuring that everything is much more complicated. Angier begins to perform his own version of this stunt, using an out-of-work actor who looks like him, Ruth (also Jackman). The act turns out great, but Angier has to be under the stage while Ruth enjoys the applause.
Angier sends Olivia to reveal Borden's secret, but she is fed up with his obsession and betrays him by defecting to Borden's side, with whom she begins an affair. She then brings Borden's coded diary to Angier, which supposedly contains the secret to his trick. Angier and Cutter kidnap Felon to force Borden to give them the key to his diary's cipher. After learning that "Tesla" is the key word, Angier travels to Colorado Spring to meet with Nikola Tesla (David Bowie) and hire him to build a teleporting machine. Meanwhile, Borden's marriage is crumbling due to his obsession with work and Angier. After an argument with Borden, Sarah commits suicide.
Angier finishes deciphering Borden's diary and discovers that it is a fake, specially given to Olivia for him. When Tesla's machine test fails, Angier accuses him of stealing his money for other experiments. However, he and Tesla soon discover that the machine does not function as a teleporter. Instead, it creates a copy of the object at some distance.
Angier returns to London, captivating audiences with True Human Movement, disappearing into a car and reappearing at the back of the auditorium. In reality, the machine creates a copy of it. The film does not say for sure whether the real Angier teleports or stays in the car, he does not know this himself. Either way, whoever stays in the car falls through the hatch and drowns in the water tank, which is then removed by the blind helpers.
Borden saw Angier drown while spying backstage and tried to save him, but was caught and convicted of murder (the film's opening scene). In jail, Borden is visited by Lord Caldlow's agent, who offers to look after his daughter Jess in exchange for secrets. Borden receives Angier's diary and learns that his conviction was rigged. When Lord Caldlow arrives to collect the secrets, Borden discovers that he is Angier, somehow still alive. Borden tries to give away the secrets of his tricks, but Caldlow rips them open without reading them before leaving with Jess. On a final visit, Borden tells Felon to live for both of them, followed by Borden's execution.
Cutter learns that Caldlow bought all of Angier's stunts, including the car, and visits him to tell him that the car must be destroyed. Upon arrival, he learns that Caldlow is the living Angier and that Borden's death was planned. They then meet again at the Caldlow Theatre, where he moved the car. On his way back, he meets and nods to Felon, who enters and shoots Caldlow. Felon (Aka, the real Alfred Borden) appears without makeup and tells the dying Caldlow that he and Felon were twin brothers who shared the same fate for two, loved both women. "I loved Sarah, he loved Olivia, each of us it was half a life and that was enough for us, but not for them.
Alfred leaves Caldlow to die while the fire destroys the building. The first scene of the movie repeats where the magician (now we know it's Cutter) performs a trick on the disappearance of the bird to a little girl (Jess). This time, the scene continues with Alfred coming and taking his daughter. At the last second, we see glass water tanks with sunken copies of Angier standing around the dying Angier.
This is how we easily and enviably quickly found out what the film Prestige is all about. What is interesting about Prestige is another question, but we think everyone will find something inspiring and interesting in it.
