Hidden Meaning in THE PRESTIGE – Earthling Cinema

Greetings, and welcome to Earthling Cinema. I am your host, Garyx Wormuloid This week’s
artifact is The Prestige, starring Huey Lewis and the Newsie, and directed by neither of
them. The film tells the story of Angier and Borden,
two Earth shamans who become rivals over a simple misunderstanding about whether Angier’s
wife should be alive or not. They take turns injuring each other’s frail
mortal bodies and snooping in each other’s diaries for hot smut. When Angier finds out Borden has a new incantation
called The Trans Man, he becomes obsessed with finding out how it all works, without,
you know, sticking his foot in his mouth. He tries using a double he conveniently finds
wandering around ten feet outside the building, but the double soon finds he has more of a
passion for trapeze. So Angier kidnaps Fallon, Borden’s assistant
who never speaks and whose face we never see clearly, somehow without ever looking at his
face or talking to him. Borden relents and gives him a clue: the Tesla
Model 3. So Angier drives his affordable yet stylish
electric car across the ocean to America to find Nicholas Tesla and bully him into building
a transmogrification machine. Angier successfully uses the machine and becomes
the biggest hippo on campus, and that makes Borden a very sad hippo.
A very sad hippo indeed. Michael Caine is in this movie, in case that
wasn’t clear. Borden sneaks backstage to investigate, only
to find Angier stupidly drowning in a water tank like some sort of non-amphibious mammal. Borden is arrested and found guilty by reason
of proximity. Borden is murdered by the Earth government,
and only after he’s fully choked out does Sir Michael find out the Pepsi Twist: Angier
is still alive and kicking! With one of his feet at least. It seems Angier has been suiciding himself
at the end of every performance, leaving behind a fresh-baked clone to live until the next
one. Then, just as Angier is patting himself on the back, Borden shows up and performs
his greatest trick: shooting him with a gun. Buy one Pepsi Twist, get the second for half
price! Borden is actually two twin brothers who would
trade off being Borden and Fallon, depending on who was having a better hair day. Angier bleeds out all his remaining blood,
and Borden meets up with that double-crossing legend of stage and screen to retrieve his
daughter, who is also part of this. In The Prestige, shamanism is a metaphor for
storytelling, which is a euphemism for talkies. At the start of the film, Cutter explains
the structure of a magic trick. This progression also reflects the three act
structure that comprises the bulk of Hollywood features — even Beverly Hills Chihuahua. Act One is the pledge. In the world of film, this translates to the
introduction of characters and conflict, generally something to do with not having a date to
dog prom. Act Two is the turn, which gets its name because
Act One… turns… into Act Two. Act Two introduces complications, in this
case the advent of Borden’s Trans Man trick, which ignites Angiers’ descent into non-binary
open-mindedness. The turn culminates when Angiers activates
the machine, and the audience is left wondering when Batman is going to show up. Act Three is the prestige, which, coincidentally,
is also the name of the film. This is when the story gathers the narrative
threads and ties them into a neat little Bowflex, climaxing in a grand flourish. Significantly, this structure is explained
by a man named “Cutter,” a term that references an editor’s role in piecing a film together. Too bad our editors are pieces
of – unwavering professionalism – who
knows how to do his job. Just as a shaman distracts us with techniques
like needlessly vulgar imagery or a needlessly attractive assistant, the film diverts the
audience from the twist even while dangling it right in front of our state-of-the-art
ocular implants. The child guesses immediately that the birdcage
trick used a twin. Cutter even comes right out and states it. But the audience is so dazzled by showmanship
and the advent of electricity that we are still gobsmacked when Borden finally explains. All of which goes to prove Cutter’s theory
— whether watching a magic trick or a movie or a donkey show, the audience wants to be
fooled, swept away by the narrative, so that we may be wowed at the end. Because no one goes to a donkey show for the
previews. For Earthling Cinema, I’m Garyx Wormuloid. Presto disappearo!


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