![]() Photo By: Elizabeth Goodenough/Everett Collection Rufus Sewell at arrivals for Amazon Originals'' THE MAN IN THE HIGH CASTLE Series Premiere, Alice Tully Hall at Lincoln Center, New York, NY November 2, 2015. Photo By: Elizabeth Goodenough/Everett Collection Rufus Sewell at arrivals for 20th Costume Designers Guild Awards (CDGA), The Beverly Hilton Hotel, Beverly Hills, CA February 20, 2018. The series' demise would, at least temporarily, return Sewell to period dramas, although the charismatic actor would manage to keep at least one foot firmly planted in the modern day for his many projects to come.ĭangerous Beauty Photos Rufus Sewell at arrivals for THE LION KING Premiere, El Capitan Theatre, Los Angeles, CA July 9, 2019. Eventually the actor's protestations led him to prove his versatility in the critically-acclaimed Tom Stoppard play "Rock 'n' Roll" and the American television series "Eleventh Hour" (CBS, 2008-09), where he proved a very suitable choice to play a handsome criminal investigator whose preferred method of transportation was a car and who was never called upon to engage in a sword fight. While Sewell successfully transitioned to American productions, he remained typecast in period pieces as villainous rulers, brooding noblemen and romantic leads. From there, the actor was tapped to ride many a horse and deliver many a velvet-clad smoldering look in a string of well-received films including "A Knight's Tale" (2001) and "The Illusionist" (2006). Here is weakness grown strong in diversity.A mainstay in British costume dramas and historic biopics, actor Rufus Sewell was active on London stages before landing his screen breakthrough in the British television adaptation of George Eliot's "Middlemarch" in 1995. Disguised beneath a thick beard and moustache, Giamatti’s eyes and body language expose Uhl’s character to perfection. Uhl is a crucial character, on the one hand a servant of the royal household, acutely aware of his position, and on the other a detective who, within the constricts of Leopold’s whim, tries to uncover the truth. ![]() If the story has a tragic inevitability, the strength of the film is its ability to suspend disbelief and engage the audience with its mastery of mystery, aided not a little by Norton’s eerie control of Eisenheim’s very special gifts.Īfter outstanding work in American Splendor, Sideways and Lady In The Water, Giamatti continues to astonish. Of course, things have changed and she is unofficially betrothed to Leopold, who has the reputation of violence against his women (“He pushed one of them off a balcony to hide the beating he gave her”) and is a man who understands the meaning of power and is only too adept in using it absolutely. It is during one of his shows, honoured by the presence of the Crown Prince and his friends, that he meets Sophie (Jessica Biel) again, resurrecting their love for each other. Many years later, Edward reemerges in Vienna as Eisenheim (Edward Norton), The Illusionist, and becomes an immediate sensation. ![]() She is virtually held under house arrest, while he runs away to his uncle’s in Prague. Their friendship continues in secret, until finally discovered, crouched in each other’s arms, in a woodcutter’s hut in the forest. “You can’t be in a place like this,” they scold. They talk and talk, until her official minders find her. One day, the young Countess Sophie (Eleanor Tomlinson) is riding through his village when she sees Edward walking down the street, balancing an egg on a stick. Edward (Aaron Johnson) is an Austrian cabinet maker’s son at the turn of the 19th/20th centuries, who, as a lad, becomes intrigued by the art of subterfuge and illusion, teaching himself tricks that professional conjurers would have been proud to call their own. The early years have a fairy tale quality. Writer/director Neil Burger’s skill in constructing his story, with the help of Inspector Uhl’s (Paul Giamatti) narrative voiceover and wonderfully disciplined performances, with the erratic exception of Rufus Sewell, as Crown Prince Leopold, whose depiction of arrogance has psychotic tendencies, captures a mood of magic. ![]() Only fools and the privileged few can afford the luxury of romanticism. Hypocrisy rules and love has a value, a financial value, like everything else. In the real world, politics, power, class and the corruption of hope prevails. This kind of thing is not possible anymore, because even children are cynical. In tales of yore, the goat herder’s son falls in love with the princess and, despite opposition from every quarter, they find a way to be together and (eventually) live happily ever after. ![]()
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