Examining the art of magic through the now conventional competition form, Make Believe follows six exceptional young magicians hailing from the United States, Japan, and South Africa as they vie for the title of Teen World Champion. It’s tempting to draw comparisons to Spellbound, which was both innovative in its approach and an engaging study in the spelling bee subculture. But the subjects of this documentary aren’t just practicing a niche talent; they’re prepping for their careers. They strive to be the next Lance Burton or Criss Angel and dedicate obscene amounts of time to honing their sleight-of-hand acts and designing bedazzled costumes. The fortunate and privileged ones (i.e., the Americans) join esteemed clubs like the Magic Castle in Los Angeles or study under the tutelage of a ponytailed mentor. And every year, an elite group of promising illusionists gather at the prestigious World Magic Seminar in Las Vegas to showcase their talent for a modest audience of followers.
Documentaries that focus on outsider culture generally rely on an element of humor to portray their characters as endearing oddballs, with levity deepening the viewer’s appreciation of their craft. Without the requisite quotable scenes or risible commentary, the subjects may appear one-dimensional or dull, and that’s the fundamental problem with Make Believe. The kids are gifted magicians, but as characters, they’re monotonous and dry; and when conveyed as insular castoffs — as they are at times — their enthusiasm for magic is undercut by their apparent loneliness. It’s not necessarily depressing. It’s closer to pathetic.
In one revealing interview, Hiroki Hara, the phenomenal Japanese contestant, tells us that magic is borderless, that he uses it when he can’t communicate with language. It’s an incisive observation, but given the context, it feels moot, as we rarely see the young magicians socialize with anyone outside of their circle. Are we to presume that if it weren’t for magic they would be entirely friendless? Considering that the film was cut from 400 hours of tape, it’s disappointing that the filmmakers didn’t emphasize any of their obsessive or idiosyncratic behaviors, which could lead to other interpretations. Instead, they concentrate on the mundane aspects of their lives — their parental influences and aspirations to be professional entertainers — dragging it on without a structured analysis. Boredom ensues.
With most of the performances running together like a prolonged high school talent show, I keep coming back to descriptors like “passable” and “adequate,” but end up with “tedious” and “forgettable.” The soundtrack is canned and the material is G-rated, as insipid as it is tame. Nevertheless, I shouldn’t harp on Make Believe’s faults too much — it may appeal to adolescents, and I suppose you could call it a competent effort. But that doesn’t mean it’s worth the price of admission.
