The nature of the medium of documentary is built around an unknown. Filmmakers journey into a subject or a life without all the answers (the worst documentaries purport to hold all the cards), and what often makes a good documentary riveting is the narrative of exploration, the uncovering of a truth. But, what often defines the best documentaries is their ability to pivot and spot, mid narration, a wellspring of truth more compelling than that of the original focal point of the film. In Luke Korem’s new documentary “Dealt,” that’s just what happens. What is, at its outset, a rather charming film about the world-famous card mechanic Richard Turner and the obstacles he has overcome, winds up being a searching study of the painful nature of coming to terms with your own vulnerabilities.
“Dealt” starts by solidifying a known truth: Richard Turner is one hell of a card player. He’s a master of just about every great cheat known to man and, therefore, one of the greatest living close-up magicians. But he’s more than that: an obsessive worker (he practices cards 16 hours a day and often sleeps with a deck in his hand), a fitness freak, a black belt, and a loving father and husband. That Richard is blind is, in a way, neither here nor there. But still, part of what initially makes “Dealt” (and Richard himself) so compelling is Richard’s blindness: how can a man pull off such magnificent card tricks without the ability to even see the deck, let alone what card is before him?
This, though, infuriates Richard. He doesn’t want to be the blind magician. He doesn’t want to be famous for how good he is for a blind card player. He doesn’t want to be the best blind anything. He just wants to be the best. But the world seems intent on boxing him in. It drives him mad — he cancels TV appearances if they want to focus on his blindness, refuses to read newspaper articles that use the word, and avoids even acknowledging his sight at his own shows, let alone in his life. And while his stubbornness has likely led him to the great heights he has reached, it has also forced him into a life of dependence.
Unlike his sister, who was also blinded by the same disease around the same age in childhood, Richard refuses to use a cane, to embrace new smartphone and computer technology, or to have a guide dog. As a result, Richard leans on his wife and his son, Asa, who accompany him to events around the world, read his emails for him, and generally help him facilitate the life of a traveling magician (he prefers to call himself a “card mechanic”). And, while certainly strenuous, all parties seem genuinely happy with the arrangement. The only problem? Asa must grow up, and, eventually, he packs his bags for college.
The seismic shift throws Richard’s delicately balanced life into the unknown. It’s also where “Dealt” sees its opportunity to pivot and blossom into the rich and satisfying picture that it becomes by its conclusion. It’s undeniably uplifting, but “Dealt” — and Richard — earn the emotion by committing to face the difficult realities of being differently abled with nuance and texture. Richard himself confronts his own vulnerabilities with grace and a charmingly self-effacing attitude (and more than a few playful tricks up his sleeves).
Certainly, there are faults to such an openly tenderhearted film, but “Dealt” manages to never deal itself a bad hand — save for maybe a few moments where Duncan Thum and Sebastian Örnemark’s score dips into the sentimental, wringing emotion from scenes that do enough on their own. Similarly, at times, “Dealt” can seem too partial to Richard, too eager to show him in a good light, but it’s hard to blame Korem and co., Richard is wildly endearing, a dedicated master of his craft who has earned the respect and affection of his peers and the love and praise of his family.
And in the end, it’s Richard who makes “Dealt” work as well as it does. There is nothing particularly showy about the film. It’s well shot — specifically the intricate production of the card tricks themselves — but never flashy, and it’s well cut, making for a generally rounded film that disappears behind the larger than life personality at its core, a height few films manage to reach. [A-]
 so compelling is Richard’s blindness: How can a man pull off such magnificent card tricks?){kind=link}