O anjo Levine

Jewish tailor Morris Mishkin (Zero Mostel) can't work anymore due to a back problem. He's disowned his daughter for marrying an Italian. He's got a wife who's very ill and the bills just keep piling up. Times are tough, to say the least. An angel named Alexander (Harry Belafonte) appears to Morris offering to help. But Morris has lost his faith so he doesn't believe in angels, let alone black ones who use foul language and yell a lot. But Alexander can't help unless Morris believes again.

Good cast can only do so much. The script has some nice moments but is mostly a meandering mess. It has a limited premise yet it feels incredibly padded. It's full of familiar stereotypes and tropes, albeit mostly well-meaning ones. Your mileage may vary on how much the intention matters. It's a simple culture clash story with a little bit of dated social commentary and a downbeat ending that makes you feel like your time was wasted. A disappointing but not entirely worthless viewing experience.

I absolutely hate it when a film completely falls apart near the end, after you've already invested an hour into it. and that's what happened with this film. i was intrigued by its actors and the fact that malamud wrote its source story. I haven't gone to read that story but I cannot imagine that it ends like this film ends.Fortunately i didn't pay good money to see or rent it because my library had it. ohhhh such a waste of excellent acting (the wife in particular was so perfect).but milo o'shea as a Jew?!!!! now THAT was funny. I haven't researched into its making but it played like the director lost his marbles or died 3/4 of the way through the film. Before that point, a story and characters were developing,there were a number of neat plot points and there wasn't too much time wasted. but ooh that last 1/2 hour- if that wasn't the screwiest, most worthless denouement I've ever witnessed, I don't know what is. I just hate it when one's faith is so destroyed like that; it feels like an act of violence.

Morris Miskin (Zero Mostel) is a Jewish man whose faith in God and mankind is at all all-time low. His wife is bedridden and they can barely afford her medications, he's lost his business after it burned down, due to back trouble he's unemployable and he's disowned his daughter for marrying a non-Jew. And, when the film begins, he's applying for welfare benefits as he simply cannot pay his bills. Into this messed up and depressing life arrives a man who claims he's an angel (Harry Belafonte). Not surprisingly, Morris isn't convinced the guy is an angel...especially since the angel curses God and steals. Later in the film this 'angel' even slaps his girlfriend. Clearly, if he is an angel, he's NOT a very good one. But this guy who claims to be angel promises to help Morris if only he'd believe in him.

The acting in this film is excellent...very nice and well done by Belafonte and Mostel. As for the movie itself, it's incredibly depressing...and a bit like a modern telling of Job....just a bit. But is it good and should you watch it? Well, if you are dealing with depression, my suggestion is you skip it. The film is so downbeat and hard to watch...it'll likely make you more depressed if you see it. This actually is likely for ANYONE watching the movie...it's oppressively sad to watch. And, after all is said and done, you might just feel miserable yourself. Interesting? Yes. Enjoyable, good grief, no.

Any film starring Zero Mostel is worth watching, and The Angel Levine is no exception. Sadly the film has aged rather poorly, with Harry Belafonte's hipster jive clearly belonging in the New York City of 30 years ago. Whether the film should be viewed literally, as a tale of personal redemption and healing, or as the fable most reviewers assume it to be, is uncertain. There's enough good acting here--especially from Mostel and Ida Kaminska as his dying wife--to recommend this strange little art piece.

Only viewers who are partial to stories that don't clearly differentiate between the real and the imaginary are likely to respond positively to this picture. But the fuzziness of that dividing line is one of the major themes, and as such is rendered effectively. Levine may be an angel from above, or merely a hoodlum with a snappy line of patter - along with a conscience. To its credit, the story works both ways. And if Mishkin has the same beneficial effect on Levine's spiritual life that Levine has on Mishkin's, then the story works on yet a third level of interpretation. The picture slows noticeably in a few spots: as an adaptation of a short story it cannot quite sustain a hour and forty minutes of running time without flagging a bit. Zero Mostel is outstanding, bringing the character to life with every gesture, inflection, movement and facial expression. Harry Belafonte's limited range is barely adequate, but the small supporting cast is a strong one. Those who savor the real/imaginary byplay are also likely to enjoy "Finding Graceland" and "Bronco Billy."