Angel

Based on the novel by Elizabeth Taylor, this Francois Ozon directed movie was the closing film of the Berlin Film Festival last year, and while it played out like a biography of a fictional character, you can't help but to imagine how close it seemed to the flamboyance of the other Liz Taylor being infused into the titular character.

Movies based on biographies, such as Miss Potter with Rene Zellweger and La Vie En Rose with Marion Cotillard, seem to follow a formula of rags to riches, and basically living the dream that no one had imagined was possible. Naturally, being blessed with a talent and a gift helps too, and with Angel Deverell (Romola Garai), hers was a steely resolve of wanting to break out of her poverty cycle through her writing, an aspiring novelist with limited life experience, relying solely on her vivid imagination to paint literary marvels with her firm grasp of language, constructing sentences like a wordsmith many times her age.

What made her character compelling to watch and follow, is her living in a fantasy world she constructs for herself, which suits her perfectly as it provides for and fuels her imagination with romantic stories to enchant and endear herself to her readers. It shields her from her insecurities, but in doing so, she slowly isolates herself into her view of Paradise, and becomes a chronic liar, which I felt she's constantly aware of, but is ashamed to admit any stain in the perfect world.

Delivered in two distinct acts, things start to change when she meets the Howe-Nevisons. Nora (Lucy Russell), probably her #1 fan who simply worships the ground she treads on, and offers to be her personal assistant, and her brother Esme (Michael Fassbender from 300 who said they'll fight in the shade!), with whom Angel falls head over heels for. And this stifling relationship takes a toil on all parties involved, with shades of possible lesbianism played down in the film (though I'm unsure what became of it in the novel). While Angel had her break from Theo (Sam Neill) the publisher who believed in her, Esme the aspiring painter has none, besides Angel who would probably say Yes to anything he says. And his portrait of her probably was the highlight for me in the movie. If a portrait painter needs to, and can peer directly into your innermost soul and bring whatever qualities he sees in you onto the canvas, then Esme would have succeeded with his god-ugly picture of Angel, reinforces meaning of being beautiful on the outside. but ugly on the inside.

The special effects were quite badly done, and perhaps deliberately too, as it's made up of very obviously superimposed shots of backgrounds that no longer exist because of modernization. Other than that, the rest of the production values are high, and the costumes too which Angel decked herself in, are quite a sight to behold, especially when there's a call for a change in colours to reflect the mood of the story as it wore on.

But what made this movie very palatable, is how Romola Garai carried the role through the story. You can just about believe the very naiveness and devil may care attitude that her Angel brings, however always seemingly able to hide and bury her true feelings deep within herself, and being a master manipulator also helped loads. Like how Charlotte Rampling's character of the publisher's wife reflected, you just can't help but to pity Angel, despite her pomp, flamboyance and hypocrisy.

So if you're interesting in a movie that provides avenue for an intriguing study of a person putting on a very fake mask, then Angel, despite its title, will be the movie for you to examine human traits which are anything but angelic.

I'm a great admirer of Francois Ozon's French movies (Swimming Pool, Under the Sand, 8 Women) but this, his first foray into English language drama, is a stinker. Adapted from a book by Elizabeth Taylor about an Edwardian novelist whose life fails to live up to her romantic fantasies it is as ridiculous, clichéd and overwritten as any of the heroine's creations; hard to know if this is the fault of the source material or Ozon's adaptation (though he has been assisted by acclaimed playwright and translator Martin Crimp). You watch it in disbelief, unsure if you're meant to laugh or not, faintly hoping that this is a deliberate attempt at post-modern ironic detachment (but wondering what would be the point) and gradually realising that Ozon thinks he is Douglas Sirk and has completely embarrassed himself.

The actors look all at sea, particularly Romola Garai who can't give any charm to the unlikeable heroine, and Ozon adopts a stiff and old-fashioned style of film-making - complete with syrupy music and terrible back projections - which make the film look as it it was made in 1936 rather than 2006; I'd like to think this was a deliberate if unfortunate miscalculation but the consequence is that the finished product looks stilted and amateurish. Only Charlotte Rampling - Ozon's muse - almost saves the day, but her air of sardonic detachment probably says more about her feelings towards the film than about her character.

A group of girls march in succession toward their daily lesson, both their step and their outfits similar in fashion, until one girl breaks from the mold and finds herself at the gates of paradise, forced to gaze from afar. The girl is Angel, the title character from French director, Francois Ozon's first venture into English-language film. Don't let the name fool you though; there is nothing remotely angelic about her. She is spoiled, loud and delusional – everything you want in a heroine you're supposed to root for and just the kind of person you want to see get everything they desire. Right?

Angel is a writer, not a very good writer but people love her. She refuses to live in the real world in favor of the perfect illusion she believes she has crafted for herself. It all raises many questions about success and talent, sanity and vanity, but no matter how wickedly she is played by Romola Garai, the woman is too wretched to inspire sympathy in the viewer and Ozon does nothing to help.

Ozon's past efforts range in form from ridiculous and satirical to contemplative and tragic. His transition into the realm of period drama is daring considering the smaller size of his previous works but he juggles the elements well. In fact, he balances back and forth between the elaborate costumes, grandiose sets and exaggerated performances so well that it all feels rather plain. Considering how allergic Angel was to the mundane, I don't think she would have been very pleased with this. And trust me, you wouldn't like her mad.

I've added Angel in my watch list about a month ago, after studying -quite a few- of Romola Garai's and Michael Fassbender's performances. Some of the films i've watched with Garai were: Inside I'm Dancing (2004), Mary Bryant (2005), Atonement (2007) and The Other Man (2008). She was brilliant in all of them. So she was in this film.

This is a fiction story based on a novel/screenplay by Elizabeth Taylor. It's kind of a biography of a young writer (Angel) with a not wealthy background that manages to finally publish her rich -in imagination- novels. What do you think, passionate love wouldn't knock on her door when she starts being famous? This is where Fassbender's role (Esme) comes in. Another artist, an underestimated painter who doesn't feel confident enough about his work and who also keeps some skeletons in his closet that will -later in the film- (much later) finally be revealed. Fassbender is a great performer but he doesn't get to shine here. Sam Neil plays the part of the overwhelmed publisher and Lucy Russell does a great supporting work as Esme's sister.

As i'm still new in screen writing and film structure, i found myself a bit worried about the way this movie was unfolded. Everything seemed so magical and dreamy and the drama was almost out of the plot for much longer than i expected. It had to make a turn! And it did and it was sudden, maybe a bit frustrating at some point, but you'll have your turning point eventually.

Since i've realized that there where practically two acts in this film i recalled the atmosphere, the costumes, the music and the colors that went along with the change. In the beginning everything was so bright and cheerful, then all turned pale and gloomy to show the depression, which you can clearly notice even in the clothes of the protagonist. There where only a few outdoor special effects that looked really out of date and weird for a 2007 production. I laughed and quickly forgot about them.

In a nutshell, it was a decent film -with a small cast- describing the intense, disturbed and not very long life of a young female writer in the early 20s, but nothing more to get excited about.

Angel Deverell (Romola Garai) imagines herself to be a writer. Night after night she writes of her imaginative world. At school, she is ridiculed for her fantasies, and her mother (Jacqueline Tong) has no idea of her talent. A London publisher Theo (Sam Neill), publishes her first book despite her arrogance and his reservations. The novel is a bestseller. She writes another and another and another, and so on.

At the height of her fame, she meets the painter Esmé (Michael Fassbender), and is immediately stuck, even if he is even more arrogant that she is. And, sad to say, more untalented.

This is the key to this film. It is a satire of those stories of the period. There are only two serious people in the film. The rest are caricatures of popular characters and settings.

British writer Elizabeth Taylor's novel, based upon Marie Corelli, a long-forgotten English novelist of the 19th Century, was translated to the screen by François Ozon (Swimming Pool, 8 Women), who also directed. He certainly captured the ego Corelli was reputed to have.

The life she lived or the life she dreamed? That is the question of this film. There is no doubt that for a few brief moments, Angel was never in touch with reality. It makes for great satire.