The Master of Disguise

The Master of Disguise arrives as a comedy directed by Perry Andelin Blake, and its first strength is a clear sense of purpose. Dana Carvey and Jennifer Esposito give The Master of Disguise a recognisable human centre before the larger mechanics take over. The central situation in The Master of Disguise comes into focus without a long explanation: An Italian waiter fights off a criminal mastermind with his inherited powers of disguise. Across its 1h 20m running time, Perry Andelin Blake keeps The Master of Disguise unable to turn workable ingredients into a stable rhythm.

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The narrative of The Master of Disguise works from a simple but productive collision between Italian and the central character. Through Dana Carvey, The Master of Disguise keeps that premise rooted in a reaction the audience can understand. Dana Carvey introduces an important relationship at a useful point, giving The Master of Disguise a reason to change pace without abandoning its emotional line. The handling of a difficult choice is not equally fresh, yet The Master of Disguise usually earns attention through clarity rather than surprise alone.

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As director of The Master of Disguise, Perry Andelin Blake proves unable to turn workable ingredients into a stable rhythm in the transitions between intimate material and larger demands. A strong scene in The Master of Disguise often begins with a modest detail before Perry Andelin Blake lets its meaning expand. For The Master of Disguise, the premise retains appeal even when the finished film struggles because the central tone remains visible even during busy passages. The weakness in The Master of Disguise is that explanation repeatedly takes the place of discovery, although Perry Andelin Blake usually finds the original rhythm again.

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Performance is the clearest human asset in The Master of Disguise, beginning with the committed centre provided by Dana Carvey. Jennifer Esposito keeps The Master of Disguise from settling into one emotional register by approaching the material from another angle. The presence of Harold Gould gives the surrounding world of The Master of Disguise additional texture without distracting from the main line. When Perry Andelin Blake holds on a reaction, The Master of Disguise communicates more efficiently than another explanatory exchange could manage.

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The Master of Disguise uses its comedy framework to consider embarrassment, status and the gap between confidence and reality. For the character played by Dana Carvey, that idea gives The Master of Disguise stakes beyond the next immediate obstacle. The recurring pressure of the central character prevents the theme in The Master of Disguise from feeling like decoration added after the story. Perry Andelin Blake makes The Master of Disguise more thoughtful whenever the implications remain inside action and reaction.

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The Master of Disguise gains much of its identity from comic timing built around character, a choice that makes the world readable as well as attractive. The contribution of Revolution Studios allows The Master of Disguise to combine comic timing built around character with a consistent visual language. Within its United States setting, The Master of Disguise makes particularly good use of well judged reactions when the story needs to change scale. Sound and editing preserve the personality of The Master of Disguise by supporting detail instead of announcing every intended response.

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The Master of Disguise ends as a missed opportunity rather than a complete failure, especially for comedy fans who respond to personality and timing. What remains from The Master of Disguise is the relationship between Dana Carvey, comic timing built around character and Perry Andelin Blake's control of mood. The weakness that explanation repeatedly takes the place of discovery narrows the impact of The Master of Disguise without cancelling its better work. On balance, The Master of Disguise gives its intended viewers a distinctive experience rather than a completely anonymous piece of content.