David O'ConnellLuc Besson's Angel-A
September 17th 2008 02:58
Filmed in stark black and white, this 2005 film was a welcome return to the director’s chair for the Frenchman, after a six year hiatus from the overblown excesses of Joan of Arc and earlier, The Fifth Element.
Besson has produced a million films in the meantime but with the endearing Angel-A returned to his roots and a pared-back approach to storytelling. The result is an entertaining fable of sorts, about the search for identity for both an aimless man and the angel sent to his aid.
The diminutive Jamel Debbouze is Andre, who we first meet being beaten up by some shady characters he owes money to. He details his qualities and simple desires for life in a voiceover, but the accumulation of debts is overwhelming him now, as well as the constant threat of death at the hands of these criminals hounding him, so he decides to end his life by jumping off a bridge.
On the verge of plummeting though he sees a gorgeous blonde further along the bridge with similar plans and he jumps in to save her instead.
She’s the towering Angela (Rie Rasmussen), who declares that she’ll do anything for him as repayment for his kindness. Thus begin their adventures as they spend the next few days together, Angela mysteriously helping Andre to acquire the money he needs to clear his debts and change his life.
Her ultimate mission is to help him discover who he really is, to find true meaning in his empty, miserable life. It’s not until well into the film that she confesses that she’s really an angel who’s been assigned to him from above; he reacts with scorn at first before she provides enough proof to convince him.
Besson’s film looks truly magnificent, fully utilizing the widescreen format with a crisp, uncluttered view of Paris in starkest daylight and deepest night, the neon lights crystallizing the blackest hues. There seem to be very few other people in the city at times which heightens the sense of unreality, giving the later scenes in particular a sense of noirish surrealism.
There’s no doubt the camera loves the amazing Rasmussen (a Danish actress who's like a cross between Natasha Henstridge and Famke Janssen), even if she’s perhaps not the greatest actor - her dominant physical presence is captivating enough, especially as she constantly looms over the meek form of Debbouze, who is thoroughly likeable as the jittery, amiable Andre.
I love the way Besson turns the story around in the final act, when the quest and its players reverse their roles, making for a somewhat moving, bittersweet finale. Despite the protestations of heaven, Besson is telling us that our fates are still in our own hands after all.
This is an undeniably lightweight effort from the director but a thoroughly enjoyable one, with bursts of both whimsical and surreal dark humour and two strong performances. Having never been a great fan of Besson’s, I’d gladly jump to his defence here and highly recommend this one.
A trailer:
Besson has produced a million films in the meantime but with the endearing Angel-A returned to his roots and a pared-back approach to storytelling. The result is an entertaining fable of sorts, about the search for identity for both an aimless man and the angel sent to his aid.
The diminutive Jamel Debbouze is Andre, who we first meet being beaten up by some shady characters he owes money to. He details his qualities and simple desires for life in a voiceover, but the accumulation of debts is overwhelming him now, as well as the constant threat of death at the hands of these criminals hounding him, so he decides to end his life by jumping off a bridge.
On the verge of plummeting though he sees a gorgeous blonde further along the bridge with similar plans and he jumps in to save her instead.
She’s the towering Angela (Rie Rasmussen), who declares that she’ll do anything for him as repayment for his kindness. Thus begin their adventures as they spend the next few days together, Angela mysteriously helping Andre to acquire the money he needs to clear his debts and change his life.
Angela goes to work for Andre to work off those debts
Her ultimate mission is to help him discover who he really is, to find true meaning in his empty, miserable life. It’s not until well into the film that she confesses that she’s really an angel who’s been assigned to him from above; he reacts with scorn at first before she provides enough proof to convince him.
Besson’s film looks truly magnificent, fully utilizing the widescreen format with a crisp, uncluttered view of Paris in starkest daylight and deepest night, the neon lights crystallizing the blackest hues. There seem to be very few other people in the city at times which heightens the sense of unreality, giving the later scenes in particular a sense of noirish surrealism.
There’s no doubt the camera loves the amazing Rasmussen (a Danish actress who's like a cross between Natasha Henstridge and Famke Janssen), even if she’s perhaps not the greatest actor - her dominant physical presence is captivating enough, especially as she constantly looms over the meek form of Debbouze, who is thoroughly likeable as the jittery, amiable Andre.
I love the way Besson turns the story around in the final act, when the quest and its players reverse their roles, making for a somewhat moving, bittersweet finale. Despite the protestations of heaven, Besson is telling us that our fates are still in our own hands after all.
This is an undeniably lightweight effort from the director but a thoroughly enjoyable one, with bursts of both whimsical and surreal dark humour and two strong performances. Having never been a great fan of Besson’s, I’d gladly jump to his defence here and highly recommend this one.
A trailer:
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Comment by Matt Shea
20/20 Filmsight
Comment by David O'Connell
Screen Fanatic