Angel-A

First, to all you grumpy smurfs who are slamming Besson for "ripping off [...]", chill out! Don't you recognize a pastiche when you see one? If you bear that in mind, you'll thoroughly enjoy this carefree ride through angel territory, whether it's Frank Capra's funny cliché of meeting a suicidal angel by diving off a bridge, Wim Wender's suggestion that angels must always be filmed in black & white, or possibly even a touch of Christopher Walken's good-angel-bad-angel gimmick from The Prophecy, it's all in there plus more. Most of all, I think Besson tips his hat to the classic Der Himmel über Berlin (1987) by showing not Berlin but the glory of Paris in one of the most flattering presentations of that city I've ever seen. It's funny, we're trained to imagine a colourful Paris in the spring, but I never realized how breathtaking it can be in monochrome.

The plot of ANGEL-A is simple & charming. It has a few twists to keep you guessing. Most of all what captivated me (well, besides Rie's long LEGS!) was the chemistry between Rie and Jamel, two people you'd never expect to see on a date; yet together they light up the screen like they're MFEO. Their dialogues are brisk & cheeky, almost like Audrey Hepburn & Cary Grant in the old days. And at the same time, there's a lot of intensity behind every word, and you may find yourself rewinding or watching the film twice to catch everything that was said, especially if you're reading subtitles.

And Rie is freaking HAWT.

Let me say that again. Rie is freaking HAWT. Sexy but not slutty ...and with a mean hook kick. Just the way you'd expect your angels to be.

The film does hit a few bumps, particularly when it touches on the spiritual themes like where angels come from, what's their function, and the biggie: who's running the show? I was surprised to see Besson shy away from these topics--maybe because he got in some hot water for his iconoclastic ideas in his earlier film The Messenger: The Story of Joan of Arc (a film which I really enjoyed, despite the critics' hissing). But just as well, I think it was his intent to keep this film on the lighter side this time.

And I think that's the point. Don't expect Leon the Professional or La Femme Nikita, and certainly don't expect an atheistic Dustin Hoffman dressed up like a monk. This is Besson's time to go easy & have fun. Again, don't get caught up in whom he's "ripping off". Don't get bogged down in the spiritual/religious significance of it all. Don't even try too hard to understand the ending (though there's much room for interpretation). Just relax and enjoy the show; you won't be disappointed.

A sweet and unusual love story. Impossibly mismatched couple that work really well. Beautifully filmed and directed as one would expect from Besson. Definitely a piece of retro noir art but with style over substance.

Well worth the watch for a movie with a difference.

I think the first thing that must be discussed about Angel-A is the casting. I'd never heard of either of these actors before watching the movie but they were so perfect for the roles. Having a short hairy Jamel Debbouze as the insecure liar who keeps getting himself into trouble works great, but even better is when he is contrasted with the tall and beautifully statuesque Rie Rasmussen. They are such an odd and unlikely pair that it works for this story. I love their interactions, and the contrast between the two of them. Perhaps even more remarkable is how they show the change in each of them as they spend more time together and start to rub off on one another. The emotional impact of the climax at the end of this film hit me like a ton of bricks, and a lot of that is because Rasmussen and Debbouze play out all that emotion so powerfully. There was also another intense moment earlier in the movie that made me tear up, because of what was happening and how well the actors performed the scene.

There are definitely some fuzzy plot points in this movie, and I was at times a bit confused at how Angela was influencing the people they came in contact with, to do things that are totally out of character. It feels like there would be a lot of people still ready to seek retribution on André, but there are several unexplained magical things going on, so I guess we're just supposed to let that go and assume everything will be fine. I wasn't interested in nitpicking the film too much after I was done watching because it made me feel so good. There is a surprising amount of heart in this story, and I love some of the messages that it teaches. It focuses a great deal on the value of truth, and the power of self-confidence. I'm not sure the ending was perfect, even if it felt good, it didn't play quite right. The conclusion threatened to undermine some of the messaging up to that point. However, when I watch this again, I might appreciate the finale more and see how it ties into the overall themes. And that's the most important point, no matter what flaws I might have seen in the movie, I didn't say "IF I watch this again, " I said "WHEN" because Angel-A is a solid movie that I expect to watch multiple times in the future.

Besson's intention by directing this movie was good. There is, it seemed to me, a big effort to make his film deep considering the discourse. It can be perceptible through the plenty of plays with symbols that are contained in it. The main problem is that by writing such dialogs, certain scenes seem too artificial and often too long. This has to be added to the fact that if you see the film in french, you"ll quickly notice that the dialogs that often concern both J Debbouze and Rie Rasmussen are more than sometimes incomprehensible and require a permanent attention to decipher them. Rie Rasmussen, even if she's quite a wonderful creature on a physical aspect, is however an average actress and the scenes that deal with emotions are spoiled -this is rather surprising considering Besson's job on The Professional- by a clumsy actor's direction. However cinematography by Thierry Arbogast is astounding and foreigners will find a wonderful black and white postcard of Paris as they'll see the movie. It is also regrettable that Besson didn't appeal to Eric Serra for the soundtrack. For Besson's defense, it must be said, I think, that his staff and himself have worked in such constraining circumstances to shot in Paris that the number of shots was counted and couldn't allow actors to give their full potential. This is the first time also that a director has full access to production and budget resources by himself so he can write a screenplay that does not have to be selected by instances like CNC allowing himself to direct a personal but too poorly "collaborative" project. Anyway, this is a film that has definitely to be seen.

It is very unlike other films, Luk Besson is related with, very few action, lots of dialogs. Not one of the kind you'll enjoy in breaks between portions of popcorn. This movie really touched me with it's honesty. It made me understand little bit more about myself, about the way i treat other people. Not everyone will like it. If you are looking for Taxi-style action - here you won't find anything alike. It's all b&w, and very bright at the same time, 40s style footage. It is about nature of human being, about those weak and strong, about good and evil. It teaches how to love yourself, but without being egoistic. Ant maybe the best thing is, it doesn't only rise a question, but it tries to answer it within the same hour and a half - unlike many movies of this kind (hollywood influence ;)