Magic

For some inane reason every time I think about the film Magic (1978), that song `You Can Do Magic", by the group America, gets stuck in my skull on a continuous replay loop (`You're the one who can put out the fire')...argh...anyway, back to the film, which is based off a novel of the same name by William Goldman (Marathon Man, The Princess Bride), who also provided the screenplay here, directed by actor turned director Richard Attenborough (A Bridge Too Far, Gandhi), and stars Anthony Hopkins (A Bridge Too Far, The Elephant Man, The Silence of the Lambs). Also appearing is Ann Margret (Carnal Knowledge), Ed Lauter (The Longest Yard), and the late, great, perpetually crusty Burgess `Buzz' Meredith (Rocky, Clash of the Titans, Grumpy Old Men), who's always been one of my favorite actors ever since I saw him on the old Batman movie as the villain character The Penguin ("How was I to know they'd have a can of shark repellent Bat-spray handy?").As the film begins we see a painfully nebbish magician named Corky (Hopkins) bombing miserably on stage during a club's amateur night appearance (no stage presence + an indifferent audience = lots of flop sweat). Afterwards Corky, who suffers greatly from an overwhelming sense of insecurity, gets a piece of advice from his ailing mentor in that he needs something to draw the audience in, that being charm. A year passes and Corky's playing the same club, but this time it's a packed house...seems Corky's found his charm in the form of a foul mouthed, smart aleck, extroverted ventriloquist dummy named Fats, who is a really creepy, exaggerated caricature of Corky himself (they even wear the same outfits). Anyway, Corky's act proves popular enough for his crusty yet savvy agent Ben Greene (Meredith) to generate interest from a television network, but the mounting pressure eventually drives Corky to split town and head home to the Catskills. Upon arriving he makes the rounds (the old homestead, the cemetery, etc.) before renting a funky cabin by a lake, owned by a woman named Peggy (Margret), whom Corky went to high school with so long ago and harbored a serious crush on...seems Peggy is married now, to her high school beau Duke (Lauter), but both are more or less going through the motions as the union has deteriorated significantly over the years. Anyway, Corky schmoozes it up with Peggy real good (you never fully get over those high school crushes) while Duke is away, resulting in a renewed sense of self confidence, but the feeling is short lived once Ben makes the scene and quickly realizes his client has some serious issues...some seriously bad things happen, Duke returns home, and things get progressively worse, all leading up to a monumental meltdown as Corky struggles with the formidable will of his wooden partner.In one of the featurettes included on this DVD a man named Dennis Alwood, who's listed as the `ventriloquial consultant' on the film, provides a number of facts about this feature, some of the more interesting ones being that Norman Jewison (In the Heat of the Night, Fiddler on the Roof) was the original director attached to the project and Jack Nicholson (Chinatown, One Flew Over the Cuckoo's Nest), the original choice for the role of Corky. Well, Jewison dropped out (for whatever reason), as did Nicholson (apparently Jack refused to wear a hairpiece required for the role), and so, eventually Attenborough was hired to direct. The production was still without a male lead, so Attenborough turned to Hopkins (on the stipulation he could provide an American accent), whom he'd previously directed on the film A Bridge Too Far (1977), which, by the way, is an excellent WWII drama worth seeing if you're interested in that sort of thing. Also, Sir Laurence Olivier was in line for the role of Ben Greene, but due to illness he had to pull out, and so the role went to Burgess Meredith. Given these various elements one can't help but wonder how different the film might have been had the principle cast and crew remained in place, but know, despite the changes, this turned out to be an exceptionally creepy and entertaining thriller with some truly horrific sequences. Hopkins is amazing, not only in his role but also in his slight of hand abilities. I don't know if these were skills he'd previously possessed or if they were developed during the course of filming, but they add immeasurably to the credibility of his character. The other standout for me was Burgess Meredith, who played Ben Greene, Corky's agent. Meredith was one of those performers who, while in character, made you believe without a doubt he was truly the character he was playing. Such is the case here as was true in Rocky (1976), which he played the lead character's tough as nails manager. The best scene, for me at least, was when Corky was arguing with Fats in the cabin, as Corky was falling for Peggy. As the two are going back and forth, Corky notices Ben standing at the door and two things happen...Ben realizes there's something seriously wrong with Corky, and Corky feels the fear that comes from exposure of his dual personalities. Both result in a very creepy scene as Corky tries to convince Ben it was all part of a rehearsal for his act, but Ben, along with the audience, knows better. The overall intensity builds significantly after this as Corky becomes unglued and subsequently subjugated to the more powerful will. As truly frightening as I thought this film was, I only wish I could have seen it when I was a lot younger, as I'm sure it would have resulted in some really funky nightmares, given the level of psychotic energy that comes off the screen. If you're looking for an exceptionally intelligent, unnerving cinematic experience I'd highly recommend this one as it comes through with the psychological chills. The build up is slow, but the payoff is rewarding, and where else would you get to see a half nekkid Ann Margret? Homina, homina...This Dark Sky Films DVD release features an excellent anamorphic widescreen (1.85:1) picture along with a solid Dolby Digital 2.0 mono audio track. There's a number of interesting extras on the disc including an entertaining featurette titled Fats and Friends (26:52), which has ventriloquist Dennis Alwood speaking extensively on the history of ventriloquism, along with talking about his experiences working on this film. There's also a twelve-minute interview with Victor J. Kemper, the cinematographer on the film, who also supervised the transfer of the film onto this DVD, a three-minute radio interview with Hopkins, an Ann Margret make-up test (1:18), a gallery containing photos and promotional materials for the film, the original theatrical trailer, four television spots, three radio spots, and English subtitles.Cookieman108

This film was recommended to me recently, I'd never even heard of it before last night, but decided to check it out after seeing all the talent involved both behind and in front of the camera. I though I'd watch it for a bit before falling asleep and then resume watching it again the next night if I found it interesting enough...I ended up staying up half the night to watch this, because once I started I couldn't stop.For starters -- I love psychological thrillers & dramas, stories that unravel in a slow burn filled with tension and subtle suspense built upon characters struggling to achieve a desire that forces them into situations that push them to their breaking point. Sadly, this kind of storytelling isn't all that common in Hollywood studio films anymore, as CGI special effects, formulas derived from increasingly generic renditions of 'the Hero's journey', unrealistically 'likable' characters with overly simplistic black & white moral stances, jump scares and other gimmicks rule the day, and the box office. Modern audiences, unfortunately, don't seem to be tiring of any of this, much to the lament of someone like me (born in 91, but with the soul and taste of someone born in 61.)I'm not putting any spoilers or specifics in this review. I think this is a film that's best to go into without knowing much about it before hand so you can enjoy it for what it is. While I can see people who are accustomed to the pacing of modern movies, that have to have a new plot point happen every 8 to 12 minutes in favor of giving us information or 'twists' over character development, complaining about this being 'slow', I never found this film to be slow at any point. (It's also refreshing to see a film that's free of silly jokes and gags that serve neither the story or characters.)The script (by the great William Goldman, adapted from his own novel) is excellent. He gets you to either empathize or sympathize with all the characters onscreen though subtle bits of dialogue, that actually reveal quite a bit about them if you take a moment to think about it, or through masterfully crafted situations that engage you in the moment while also setting up/foreshadowing later story developments. The focus here is always on character. The beauty of spending so much time developing the character's and their relationships is you get a chance to invest in these people, who actually feel real, so what's at stake when the genre elements come into play actually feels real and is more impactful as a result. Especially as things unravel in this story, because everything that happens is the result of character choice driven from their specific desires, as opposed to formulaic plotting, the story's climax and resulting denouement resonate in a way that allows the tragedy of the proceedings to stay with you. It's a film I can't get out of my head (the person who recommended it to me hadn't seen it since it was out in theaters in 1978, but still thinks about it to this day. If that's not a mark of quality -- I don't know what is.)While there are no cgi special effects in this film, I've never seen a special effect as astounding or transporting as Anthony Hopkin's performance here, and it's my favorite Hopkins performance (and yes, I have seen 'The Silence of the Lambs'). Ann-Margret, Burgess Meredith and Ed Lauter are all great in their supporting roles as well.Richard Attenborough's direction is exemplary craftsmanship, with precise shot selection and editing that accentuates the story's atmosphere while keeping the tension in focus. It's a wonderful collaboration between him, cinematographer Victor J. Kemper and editor John Bloom. I'd be remiss if I didn't also mention Jerry Goldsmith's haunting score, which further accentuates the story's mood and atmosphere.If the above sounds appealing to you -- I highly recommend checking out this underrated gem.

Great Movie, My Favorite Actor Sir Anthony Hopkins!!

It was ok.

A twisted and truly intense performance by a young Anthony Hopkins. A psychological horror film that takes the time to describe the emotional background of its main characters so that you truly build a feeling of sympathy for the main character and his hapless girlfriend.

I love this movie, but I learned a lesson. Most Blu-Ray discs are region free, unlike DVDs, so I didn't realise this one wasn't when I ordered it. Magic is not available on blu-ray in the UK. This blu-ray release is only for the USA. It's a shame, but that's how it is. If you live in the UK or Europe, make sure you buy the DVD. But please, enjoy the film. It's brilliant.

Brilliant 1978 film...really creepy and a great hi-def transfer...

A good ventriloquist film.You may have seen similar, newer takes on this movie, but this is the original.Also, Anthony Hopkins is really creepy.Another great acting job.

l' ho visto per la prima volta negli anni 80, credo fosse 1984, tarda serata sulla rai, poi riaffittato in vhs, ora che l' ho comprato e rivisto per l' ennesima volta devo dire che per me è un cult.immagino che l' attore non ne vada fierissimo perchè è poco pubblicizzato come film, o forse è piaciuto solo a me....che dire, è un film folle, potete adorarlo come annoiarvi a morte.

Belle édition pour un film plutôt méconnu.Avec un déjà excellent Anthony Hopkins.