Angel-A (2005) User Reviews (104)

Jump off a bridge and fall in love

[Vomitron_G · 6/10 · 11 January 2006]

The last time Luc Besson directed a movie, was back in 1999. The last six years he occupied himself with his production-company EuropaCorp and by writing a lot of screenplays. Now he's back with his 9th feature film, ANGEL-A. This time no gunfights, car-chases or explosions. Nope, this time the man brings us, of all things, a romantic comedy. The movie is completely shot in Paris and seems to be one of the most secret projects of French cinema. Honestly, I can't see why, except maybe for a nice plot-twist which is presented to us halfway through the movie and not, as usual, near the end.

The plot (don't worry, no spoilers): André is a regular swindler. He lies and cheats all the time and owes money to almost every criminal in Paris. After being beaten and threatened for the umpteenth time, he decides to kill himself by jumping off a bridge. On the verge of committing this act of despair, while standing on a bridge, he looks to the left and sees a girl about to do the same thing. When she jumps, he jumps after her and saves her from drowning. She's so thankful that she offers to do anything he wants while constantly remaining at his side. Suprisedly, she turns out to be a real life-saver by finding a lot of dubious ways to earn money and pay off André's debts. After a while André wants to know why she's doing all these things for him and is curious about her past...

Jamel Debbouze (you might know him as the slightly retarded grocer's assistant in LE FABULEUX DESTIN D'AMÉLIE POULAIN) is particularly good as the nervous André. The Dannish Rie Rasmussen, a sexy blond goddess with legs that go all the way, takes a little more time to convince as Angela. However, there is a certain chemistry between the two of them. The other characters are merely caricatured portraits of criminals and gangsters.

The story is rather straightforward and relies a lot on funny situations and dialogues. A lot of talking is being done and I must say most of the lines are well-written. Near the end of the movie, unfortunately, Luc Besson goes way over-the-top, making the movie lose a lot of credibility. But then again, it just might be possible that the end could be interpreted in two different ways. And that makes me suspect that Besson likes to play it safe by trying to please as many viewers as possible.

Anyway, a very important reason to watch this movie is the atmospheric black & white-photography by cinematographer Thierry Arbogast, who also worked on Besson's previous films. Paris, during autumn, is beautifully transferred to the screen with well-balanced lighting. The movie also has some impressive shots of 'la Tour Eiffel', a cathedral in 'le XVe arrondissement' and the many bridges to be found in Paris.

Most likely ANGEL-A will have as many defenders as adversaries, not necessarily to be divided in Besson-fans and not-fans respectively. But both parties will have to admit Besson had the guts to try something different. So let the box-office decide whether this genre-effort is successful or not.

An angelic love story

[come2whereimfrom · 7/10 · 13 August 2006]

Shot in striking black and white with Paris as its backdrop Luc Besson's first time behind the camera for seven years doesn't disappoint. With two brilliant central performances from Jamal Debbouze as André and Rie Rasmussen as Angela this is a Romeo and Juliet love story with a central theme about loving life that is better than Prozac. With some nifty little camera tricks and a quirky script it takes you on a journey of all the major landmarks of Paris from the Eiffel Tower, Notre Dame, the Sacré Curé and plenty of seemingly deserted streets. Like a hybrid of Amelie, Wings of Desire and It's a Wonderful Life it is so moving in places I was nearly reduced to tears. Every second that Angela is on screen she is so beautiful and captivating that I practically saw her in colour and with André making up the odd couple they are a pleasure to watch. Stylish without being over-sentimental Angel-a is an age-old love story but told in a new and interesting way.

HEAVENLY BESSON

[MadamWarden · 6/10 · 25 January 2021]

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.

Besson wanting to claim himself as an "auteur"

[hardwalker · 7/10 · 21 December 2005]

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.

A touching and funny in parts film about learning to love yourself

[fizzylizzy44 · 10/10 · 1 August 2006]

This film made me shed a tear or two (but then I am an emotional soul!). The comedic aspects, such as the total physical difference between the leads and the strength of the Angela were well placed. The reason for Angela coming into the life of Andre and her true identity could have been very tactlessly handled and cheesy in a Disney kind of way, but Besson made it seem as natural as catching a bus. Subtitles normally irritate me, but I didn't seem to notice them in this film. Paris in black and white is also very evocative and the filming was great in my opinion. I would recommend this film to anyone who fancies a fairly short film that makes you think about whether you appreciate your inner beauty and qualities.

Just simply a marvelous, inventive film in black and white, filmed in Paris.

[TxMike · 3 December 2010]

I have become a fan of the movies of Luc Besson, "The Professional" and "Nikita" are two of my favorites. I was somewhat hopeful going into viewing "Angel-A", but I was unprepared for what a superb film this is. All of his films are different, but they share one thing, very inventive stories, very inventive dialog, and interesting camera angles.

This is a "must see" for anyone who appreciates a good movie.

Jamel Debbouze (of Amelie fame) is André Moussah, always in a coat, and always with his damaged right hand tucked into the pocket. He doesn't have a good life, he has trouble telling the truth, he gets arrested for petty crimes here and there, and presently owes impatient men quite a sum of money. With time and options running out, even the jailer refusing to take him in for protection, he decides to take his life by jumping off a bridge into the Seine.

As he does, and looks to his left, he sees Rie Rasmussen as Angela (Angel-A), also preparing to jump off the same bridge. As she does he jumps in after her, to save her. And thus begins a wild ride in Andre's life. They make an odd-looking couple, he at 5-5 and she at over 6 feet with her high heels on, a fact accentuated by Besson's camera any chance they get.

A really fine, unique, and enjoyable movie. I give it high recommendations.

SPOILERS FOLLOW: Angela really is an angel, assigned to help Andre look at himself realistically and become a better person. She gets money to pay off his debts in a very unique way at a night club. And she gets Andre to eventually love who he is. But he also falls in love with her. When her assignment is over and they are talking near the bridge, her angel wings start to grow out, it is time for her to go. But Andre jumps and hangs onto her. Not being able to support both of them, they fall into the river. Back on shore, Angela examines her back, no sign of the wings, she is being given a chance to stay and live as a human.

Dear Lord, THIS is what angels should look like! Mercy!!

[rooprect · 7/10 · 1 April 2009]

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.

breathtaking

[spacegirlg · 9/10 · 7 June 2006]

A beautiful, breathtakingly shot movie with a touching storyline. Besson often talks about his feminine side, and he is in full touch with it here. Those expecting another Nikita with lots of guns and car chases should look elsewhere. I'm sure they will find at least 10 other movies like that now in the multiplex, but nothing like this. Serious Besson fans will not be disappointed. Besson has filmed a Paris that is at the same time both beautiful and real. We see the beauty of Notre Dame, Parisian cafés, the city's bridges, but we also see its ugliness and the difficulty faced by those who do not fit the stereotype of what it means to be French. Anyone who has ever felt like a stranger in their own home will find a kindred spirit in Andre. It is a struggle to fit into a culture and a struggle to value one's self as a part of it.

Enjoyable and funny

[Horror_Flick_Fanatic · 6/10 · 30 April 2021]

The film is enjoyable and funny. I found it deep and heartwarming. It kinda reminded me of "it's a wonderful Life" (1946) with Jimmy Stewart. Just moderized for adults. Recommended..

Respire - Regarde - Voilà!

[barry_mooney · 9/10 · 22 September 2012]

Angel-A is an easy film to knock. Superficially, there isn't a great deal to endear it to any particular type of audience. For example, there's barely any action, no sex or nudity, there are no big Hollywood stars, it's not sufficiently intellectual to be an 'art-house movie' (despite being black & white!) and, although it has amusing moments, it's hardly a comedy. In addition, the film is only focused on the two main characters and, even then, it's only really about one of them. The remaining participants are (quite deliberately it appears) straightforward stereotypes who allow the simple story to progress. The quality of acting from Rie Rasmussen seems far from impressive but, to be fair, she's not speaking in her native language. Mind you, her awkward portrayal of the titular character seems to work well and she certainly stands out as a 'fish out of water'.

But despite the film's potential short-comings, there are three saving graces that transform Angel-A from a rather average 7 to a brilliant 9 in my eyes: the breathtaking cinematography (thank you Luc Besson), the magnificent casting (Jamel Debbouze is perfect as André) and the heart- warming gentle story (which stayed with me long after the film had finished). In fact, I would go so far as to say that Angel-A could leave you examining your own life and wondering when was the last time you stopped to 'respire and regard' the beautiful world around you and consider how the way you feel about yourself might well have a direct impact on how others treat you.

However, Angel-A is one of those films that you have to be in the right mood to watch. If you don't allow yourself to relax and be drawn into the fairytale, the story can easily fall flat. You also have to give it a chance to get started; the fast-paced dialogue at the beginning makes it hard to watch the pictures at the same time as reading the words (unless you're French of course!). But once Angela enters the frame, the story takes off on a stunningly gorgeous wander around Paris and the way that the tale gently unfolds in the second half of the film is wonderfully touching. There are many moments of outstanding beauty and even the superficially simplistic long-shots of Angela & André crossing the Seine have a mysterious magical quality about them. Actually, the whole film feels slightly unreal; this is partly down to the subject matter but also to the way it was filmed in an almost-empty Paris at odd times of the day.

So, in summary, I love Angel-A. It's one of those films you can watch again and again quite happily and find new insights from each viewing. There are so many scenes that quickly become favourite moments as you watch it multiple times. The contrast between the giant Nordic goddess and the shifty little North-African seems to work brilliantly and the backdrop of a beautiful black & white Paris with incredible lighting more than makes up for a few minor flaws. 9/10

ANGEL-A (Luc Besson, 2005) ***

[Bunuel1976 · 7/10 · 23 April 2008]

Last year, I foolishly missed out on an opportunity to attend a Q&A session with cult French film-maker Luc Besson at London’s National Film Theatre following a screening of his latest (and last?) directorial effort – the part live-action/part animated fantasy, ARTHUR AND THE INVISIBLES (2006). This is his film before that and, as a result of this viewing, I’ve now seen half of his filmography as a director. I keep stressing his status because, of late, his output as a writer and producer has been much more prolific and, perhaps necessarily, less significant.

In any case, ANGEL-A is fairly successful at what it sets out to be: a romantic noir-ish fantasy about a small-time Arabic crook stranded in Paris who, upon being persecuted (both verbally and physically) simultaneously by two of his bullying creditors, decides to take the easy way out by jumping to his death off a bridge. At this same instant, it seems, a stunning, long-legged blonde had reached the same conclusion too, but leaps ahead of the Arab who, naturally, is forced to dive in after her and retrieve her! Thus, is forged an uneasy but amusing alliance which sees the Arab enjoying new-found respect among his creditors (mainly through her own self-imposed “pimping” to the latter crowd).

ANGEL-A (in spite of being relatively brisk at 88 minutes) does get rather talky at times but the interaction between the two mismatched protagonists is never less than pleasant and, in fact, the central performances are the film’s very core. The belated revelation of the titular character’s true nature is not that much of a surprise or perhaps original enough to make this film particularly stand out within similarly-themed movies but, even so, Besson’s acknowledged visual flair (shot in luminous monochrome, no less) is its other most notable attribute.

Beautiful story about human relations

[ioogri · 9/10 · 1 June 2006]

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 ;)

Happiness is not in heaven

[Chris_Docker · 7/10 · 20 July 2006]

Director Luc Besson is quoted as saying, "Cinema never saved anyone's life, it is not a medicine that will save anyone's life. It is only an aspirin." That doesn't mean we don't sometimes like our aspirin in posh packaging and that's exactly what we get with Besson's new movie, his first directorial venture for six years.

Angel-A is a romantic comedy shot in black and white and with subtitles. While it is not entirely without merit, the fancy wrapper, illustrated with a plentiful helping of Parisian photo-opportunities, should not lull you into believing you are watching of film of real quality or substance. While there is a great mish-mash of talent scattered throughout, I found myself wishing for the first half that a Hollywood re-make could edit the jokes with better comic timing. "Your problem is that you're always running instead of hitting pause," the leggy blonde heroine (Angela) tells our forsaken and suicidal André, and that's exactly what it feels like as the verbal jokes are disgorged on an audience without time to digest or appreciate them, and the slapstick is wasted from lack of pacing.

Fortunately things do get better, especially as we are made privy to Angela's mission. Having picked up some emotional ballast, the jokes have more to reverberate off. The best bit, after being given a mission, she tells him, is going to wardrobe - on this occasion she has decided to do "slut" - which she pulls off very convincingly (although when she turns her hand to beating up bad guys she reminded me more of the deadly android Pris from Bladerunner).

Angela's rather more-than-human task could easily have descended into farce, but Besson cleverly chooses the moment of revelation to get more serious. From hereon in, the movie gets more interesting, throwing in gender psychology and marginally more intellectual challenges. "I am you," she tells him - he may be a man on the outside but inside he's just a six-foot slut. The emptiness of the opening section makes this intense characterisation welcome and I could eat up such pretentious lines and the tearful looks with glee. It even makes sure it doesn't take itself too seriously (the line follows on from a scene where André is getting changed in a women's toilet and Angela counters an elderly lady's vexation by insisting, "He's a woman really", implying he's transsexual.) Although Angel-A has 'strong language and sex references' justifying its '15' certificate, there's no nudity and we are left wondering if even the sex scenes were in our imagination. Besson does succeed in getting us to think about Angels - as well as Fallen Angels, Falling in Love, and Why do Angels Need to Eat a Calcium-Rich Diet; but the idea of angels shedding some divine light into the life of mortals is heavily polluted with selfish wish-fulfilment. In the Bible, angels were originally 'sons of God' who came to earth to sire children on mortal women. Later, they were called demons, 'fallen' angels, until the Book of Enoch cut to the chase in true patriarchal fashion and blamed women for the angels' fall. Here they ask us if happiness is not, indeed, in heaven. A 2005 Harris Poll showed that 68% of Americans believe in angels (rising to nearly 80% in the less educated), suggesting that the film will be further 'cleaned up' for any American re-make. Until then, if Angel-A is not exactly the classic it aspires to be, it's quirkier and classier than the average chick-flick and should be enjoyed as such. Much could be said in criticism of it, but for such a relatively humble offering it could be more divine to forgive.

Are you kidding?

[Klickberg · 2/10 · 22 May 2007]

Well, ARE you?! You couldn't possibly like this "film." Luc Besson WAS a master of film-making. One of the international heavy-weights. THE BIG BLUE, LE FEMME NIKITA (even its American adaptation, POINT OF NO RETURN, it was something relatively special), THE FIFTH ELEMENT, and, of course, his undeniable MASTERpiece, LEON: THE PROFESSIONAL are all truly important pieces of cinematic art.

Then, as we all know, THE MESSENGER came around, and suddenly we were slapped in the face. He produces or writes a few absolute B-movies, for whatever reason (a couple of bucks? did those movies even MAKE any money?), then comes back out with a slapdash, animated children's movie with that strange-looking kid from CHARLIE AND THE CHOCOLATE FACTORY.

Now, it's ANGEL-A.

Uggh! The paper-thin story gives us a masturbatory fantasy of the shy milquetoast who finds himself on the grips of his life. About to commit suicide, this paunchy and impish fellow is about to jump off a bridge, begs God to give him a sign -- more or less -- and, low and behold, is granted the gift of a towering Viking blonde bombshell who will do whatever he says, whenever he wants, as quickly as he wants, without any question whatsoever.

"Angela" (hence "Angel-A"... tee hee!) has come to basically fix all of his problems lickity-split (even if it means stealing or beating up innocent bystanders) and prove to him that not only is he capable of being loved and of loving, but that SHE loves him.

Yawwwwn. I've said this a few times in the past, but I truly wrote a similar story... about ten years ago when I was a hot-blooded, angsty teenager in desperate need of a, well, beautiful blonde bombshell who would do everything and anything for me. Then I passed puberty and threw the story away.

There's never any sense of reality, never any sense of conflict or struggle (from the moment Angela appears -- almost immediately -- you know that our "hero" is perfectly safe, so there goes ALL tension), and the only "reveals" or sense of "unpredicatablilty" is engendered by the fact that you wonder, "Gee, is she or isn't she an angel?" Seeing as there are absolutely BLATANT, smash-you-over-the-head signs all along the way (including, well, the fact that the movie is called ANGEL-A), there's really no surprise when, hey: she IS an angel. Not to mention the fact that you find out "the secret" about half-way through this meandering and pedomorphic throwback, anyway.

The few remotely interesting moments come straight out of Besson's past movies (including a scene right out of THE PROFESSIONAL in which they play the Abbott & Costello "And stop saying OK all of the time, OK?" trick once again). The recycling here is truly shameless and proof positive that Luc is indeed running dry.

A beautiful and imaginative film, in both character and presentation.

[ThreeSadTigers · 22 February 2008]

Stagnating in debt, without a Euro to his name, small-time low-life André decides that the best thing for all concerned would be to throw himself into the Seine. However, just as he is about to end it all on the Pont Alexandre III, he is interrupted by a beautiful blonde, who, without word or question, leaps into the river before him. Without even questioning the irony, André jumps into the water to save her, and, after pulling her to safety, is shocked when the woman dutifully offers to help him out of his current predicament. Angela, of course, is no ordinary suicidal beauty; though it takes time for the sceptical André to realise that she has latched onto him for a very specific reason. The twist is that she needs him just as much as he needs her, if only to feel the emotional connections that divinity has denied her.

Angel-A (2005) takes director Luc Besson back to his roots to some extent; giving us a slight, though no less charming little tale of love and loneliness that forgoes the kind of balletic, exotic action and violence that came to pepper his more iconic work throughout the 1990's, and instead, looks back to the quirky, stylish, character driven films that he produced in the early to mid 1980's. As a result, Angel-A seems indebted to the long since forgotten "cinema du look" movement; a brief cinematic resurgence in 1980's French cinema that saw a younger generation of filmmakers looking back to the days of Godard, Truffaut and the Nouvelle Vague, to create pop-culture referencing films dealing with doomed love and alienated Parisian youth. Although the film is very much evocative of that brief era in French cinema in which Besson came to prominence alongside filmmakers such as Jean Jacques Beineix and Leos Carax, Angel-A isn't a complete retread of his earlier work. In fact, the most notable thing about this film is the way in which Besson channels the spirit of his younger self - creating a film that is high in energy and expressive in both style and imagination - but also manages to bring to it the same sense of emotional maturity and character detail found in his much better films of the 90's; chiefly Nikita (1990) and Léon (1994).

Whereas his 80's films were content to fall back on clever visual gags, iconic characters and arch dialog, Angel-A takes these characteristics and applies them to a relationship that is as mysterious, provocative and believable as the one between Léon and Matilda, or even that of Corbin Dallas and Leeloo from his great pop-art science-fiction thriller, The Fifth Element (1997). It also gives us characters that we can care about and believe in; something that seems a million miles away from the puppet-like warriors of his first film, the wordless science-fiction parable The Last Battle (1983), or the ironic caricatures of the director's second feature, the chic and iconic crime thriller Subway (1985). Many have likened Angel-A to the classic Frank Capra film It's a Wonderful Life (1946), with the notion of a down on their luck character being brought back from the brink by a mysterious, angelic-like figure. This is true to some extent, but the difference is in the details and the overall message that the film presents. In It's a Wonderful Life, the central character played by James Stewart is shown how much poorer the world would be to his friends and family if he had never been born. In Angel-A however, the character of André is shown how great the world can be, if only he had the strength and the drive to take advantage of any situation, no matter how seemingly hopeless.

Some will obviously balk at the brazen romanticism on display here; particularly towards the end of the film in which André and Angela realise - without giving too much away - that they each fulfil some greater sense of purpose to one another; with Besson once again bringing things to a close on the Pont Alexandre III to create an interesting, circular aspect to the narrative, rife for reinterpretation. The relationship between André and Angela is a very beautiful one, playing off the obvious differences in their appearance and the slow reversal of roles that takes place over the course of the film's duration. It also works as a result of the pitch-perfect casting of comedian Jamel Debbouze as the luckless André and supermodel Rie Rasmussen as the protective Angela, and the subtlety and compassion that both of these performers bring to their respective characters. With this in mind, Angel-A, for me at least, is as beautiful as cinema gets; perfectly tapping into the spirit of the "cinema du look" approach with the glossy photography, sharp-pacing and imaginative use of production design, but with an interesting story and characters that manage to elicit real and captivating emotions.

The continual interplay between the two characters and the presentation of their plight is beautifully done, featuring some of Besson's best writing and dialog; with at least two scenes (in particular, the "mirror scene" and the penultimate scene back on the bridge) almost bringing me to tears. It is unconventional, shamelessly romantic and prone to the kind of unashamed flights of fantasy that really require an enormous amount of suspension of disbelief... but it is worth it. Angela-A is a beautiful film, not only in the way in which it is presented, but in the relationship of its central characters and the deeper, philosophical interpretations of the plot. Quite clearly a hard sell for many, perhaps more cynical viewers, but for me, this is a genuinely imaginative and inventive film that moved and delighted me on a profoundly personal level.

Once the contrived plot drops away and the two stars can simply interact this is a wonderful film

[dbborroughs · 7/10 · 24 December 2007]

Luc Besson's off beat comedy romance fantasy about a down on his luck con man who decides to kill himself, only to find himself rescuing a tall beautiful woman instead. The woman will do anything to help him and it soon become apparent that she is something more than human.

Shot in glorious black and white I don't know when Paris ever looked this good. Its a glorious looking film that is a real treat to look at. I had to take a couple of phone calls during the film so I paused the movie, only to find beautiful art print style pictures on my TV. Heavenly.

The plot line, of an angel helping out our stumble bum hero is a well worn one. Whats different is how Besson plays it against expectations, clearly he's a man who needs a bit of help, but contrary to most films of this type he's not a complete idiot. He's a man who's been worn away by the world and who really just needs some one to believe in him. (this would be a great double feature with Wings of Desire) To be honest most of the plot of Andre needing to get money and Angela helping him doesn't really work all that well. Its clearly been put in place so that Andre and Angela have something to do. What shines through that is the interplay between the two characters. There is a real affection for each other. Indeed once the money plot goes by the wayside and we simply concentrates on the two leads (who are in almost every shot) the film becomes a wonderful touching tale. More than once a tear came to my eye as the two slowly began to crash into each other. Its wonderfully romantic.

A word of warning. This is an odd ball movie in a way. The film is not what you think it is, or rather it wasn't what I thought it was. About half way through I was tempted to restart the film and watch it again because I suddenly had the feeling that I was not liking the film as much as I was going to on the next go round. It was clear that the film was doing what it wanted and that I wasn't ready to take it on its own terms. I resisted the temptation, but I'm pretty certain that I'm going to like this better on the second go round. I have a feeling this is a film you like the first time and love the second.

Warnings and reservations aside I do recommend this film. If you can go with its vibe I think you'll have a really good time. As for me, it made me wish I I had some one to love like that.

Filming early the morning

[DCLXVl · 9/10 · 25 June 2006]

I'm not a fan of the french cinema, but I liked the movie. I liked all the strange ideas of Luc Besson - there are no car-chases, no explosions, just a romantic drama.

The scenario, the cast, the play of the actors (the role of the nervous Andre is hard to be played, but Jamel Debbouze is a great choice, just like Rie Rasmussen with her infinite legs)...

It was too interesting for me that the film was shot early the morning, when the streets are empty and Angel-A and Andre are all alone in the beautiful black-and-white Paris (and world). If you don't like the movie, you can just relax and take an almost real voyage in Paris.

Something Different

[seany_c · 7/10 · 30 January 2011]

My missus brought me this the other month because she knows I'm a fan of Luc Besson, usually the action films he's wrote and produced but it was a nice effort anyway. I found myself pleasantly surprised with this one. I'm not usually into all this soppy romantic b*llocks but with this I'll make an exception. It's actually a really beautiful film, well acted and well made. It tells the story of a no-hoper who finds redemption in the form of a beautiful girl. The film makes you question, for a while, whether or not this girl is actually insane. I was taken with how beautiful and talented Rie Rasmussen was and was even more stuck by the fact she wasn't French and had to learn the language for the role. Jamel Debbouze also did well, his scene in the mirror very well acted (you'll know what I mean if you've seen it). Not for everyone but for fans of a nice night in with the missus, this is a must. Quick note: she cried at the end ***/*****.

...Just about everything a movie can do..and some more,maybe....

[alexa_bow · 10/10 · 5 January 2007]

This film by Luc Besson, has almost.."everything"!!! The director,makes a story about two people-man and woman-who look so different from each other, just as black and white. She comes from the sky, while he comes from "human's hell", since he's being chased for money he owed, and has nowhere to go. As the movie goes on, the two of them will get closer to each other, just to find out that they were getting closer to...themselves! The film itself is in black and white, so that it allows you to see the contradiction between the two heroes, but in the same time it gives you a sense of mystery-something that it would never happen with a colored film. Though it is a film about love, it shows its real meaning, in a truly artistic way, just as a work of art would speak..In addition, as a film, you can not really categorize it, just as you can not do so for a work of art.It makes you laugh so many times, has moments of pain, moments you feel like crying, some action, in a few words:

It has everything life is made of. The director seems to me as if he knew exactly what he wanted, and made a wonderful movie about anyone who is still human, and therefore is able to love-himself first-another person.

Really "odd-couple" in black and white modern Paris

[Quebec_Dragon · 7/10 · 13 May 2010]

Angel-A is the title of a lesser-known film by famous french director Luc Besson (Fifth Element) shot in black and white mostly in Paris. It's also the name of the leading female character : a tall, thin and beautiful blonde with a mysterious past. The story tells of the unlikely relationship between that woman and a small rather ordinary-looking American (looking Moroccan) in deep trouble because of debts (played by Jamel Debouze, the one-armed grocer from Amélie). What strikes viewers first after the black and white is the difference in height between Angel-A and the "hero", as well as their very contrasting looks. We have a pretty "odd couple" after a dramatic first encounter.

The film is very well shot with dynamic camera angles. It's not really an action film, nor a comedy, nor a drama. The closest description might be an unconventional buddy/romance dramedy hybrid. I liked the relationship between the two leads although some will get stuck at how very unlikely it seems. To be fair, the initial premise (of which I cannot tell too much) seems a bit like a teen's fantasy come to life. The pace is good and I was never bored even in quieter moments. The cinematography is top-notch sometimes playing with heights or characters looking straight at the camera (or the viewer) for dramatic purposes. The accents in french sometimes made the protagonists hard to understand (especially Angel-A with her Scandinavian accent) and unfortunately it sometimes sabotaged good moments. However, for English viewers (the movie is subtitled not dubbed), this would be a non-issue. The acting is slightly exaggerated and unequal, particularly from Angel-A who ranges from bad to great. Again, this sometimes hurts the suspension of disbelief. I would like to mention a great dramatic scene when both main characters look at a mirror. This was a really special powerful scene. So all in all, I liked the film, found it entertaining, sometimes touching, but it has flaws.

Rating : 7 out of 10

Powerful film built on 2 amazing performances

[blott2319-1 · 8/10 · 14 January 2021]

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.

Weird and Implausible Fairytale

[claudio_carvalho · 6/10 · 28 January 2010]

In Paris, the twenty-eight year-old small-time crook André Moussah (James Debbouze) owes a large amount to powerful bosses of the Parisian underworld and he needs to pay until the next day. His legitimate business with olive oil from Argentina has never succeeded to pay the loans. He seeks protection in the American Consulate and in the French police and finally in despair, he decides to commit suicide jumping from a bridge in the Seine. In the same moment, he sees a beautiful tall woman ready to jump in the water from the same bridge. He jumps in the water and saves her life, and she introduces herself as Angela (Rie Rasmussen). They spend the rest of the day and the night together and she provides enough money to him to pay his creditors. Then she confesses that she is a fallen angel assigned to help him to retrieve his self-esteem since he is a good person inside. Sooner André falls in love for her, but Angel-A will retrieve her wings in the end of her journey.

"Angel-A" is a weird fairytale with a magnificent cinematography in black-and-white in the landscapes of the wonderful Paris. The very beautiful unknown Danish actress Rie Rasmussen performs the role of a fallen angel assigned to help a man that does not know that he is good like Henry Travers does in "It's a Wonderful Life" with James Stewart's character George Bailey. But on the contrary of Frank Capra's masterpiece, the man to be saved, André Moussah, is a short low-life non-likable worthless character and has nothing to do with the tall blonde Angel-A; therefore their romance is absolutely ridiculous, implausible and never works. Further, the way Angel-A resolves their money problem is silly and dull. My vote is six.

Title (Brazil): "Angel-A"

I wish I could have angel like her..

[alexigvs · 10/10 · 2 April 2021]

What a great movie, watched it many times. I'm glad the story ended happily. I recommend to everyone.

A Love Story About The 'Self'...

[tipsycitrus · 7/10 · 14 October 2010]

'I am a reflection of you' Angela tells Andre, with an assured, smile over their table at a Parisian café.

'What, a beautiful, 6 foot tall slut?' He asks, amused.

'Yes.' For those who truly read into those lines, I believe them to be the summation of Andre's dual character profiles (the aesthetic average

and the beautiful inside 'put simply', as Angela might say) and the marrying of all the elements together in this Luc Besson beauty...

Angela is the physical manifestation of Andre's 'inside'. In physicality - on which we all naturally draw instant conclusions on the people we encounter...she is the obvious everything that Andre can't see in himself, as it would mean looking past the 'first layer' - the surface.

His good nature evokes the saying of those who stand '6 feet tall' purely on the grounds of his goodness - a man to be looked up to. Her 'sluttiness' - that dress and attitude - is a reference to Andre's habit of whoring himself out indiscriminately to anyone, regardless of their true intentions, who'll show him the slightest bit of attention or superficial kindness (the gambling scene and it's lead-up in the bar, embodies this). Her beauty, the embodiment of the western mainstream ideals of femininity and attractiveness - tall, long-legged, blonde, generally model looking - refer to the all-pervasive 'good' that Andre really is inside.

Luc, instead of being conventionally preachy by consistently arguing the self is more important than the superficial - actually engages both, a physical manifestation - one in which we all recognise - to exemplify another in a way that couldn't possibly be lost on his audience.

Very well done.

That line truly made the film for me - otherwise, an elegant, jovial, delicate and smooth-running watch.

Looks good but lacks any real depth. Shame.

[howardvause · 4/10 · 20 August 2009]

Angel-A is a change of pace for Besson; monochrome, mawkish and rather mediocre. It is well photographed on location in Paris, although subtitle-readers should note: quick-fire dialogue AND good cinematography may make for frustrating viewing.

This film is no "Wings of Desire" or "Wonderful Life". Despite its shared themes (heavenly intervention averts suicide, angel/mortal relationships ensue), Besson does nothing to enlighten or inspire us. Even the well acted, teary moments, rapidly descend into toe-curling sentimentality.

The film's flawed ideology irritates; an Angel whose message of love and respect for self is constantly undermined by her own violent and promiscuous behaviour; a "happy ending" which negates the hero's supposed journey from helplessness to self-esteem and independence.

Verdict: Quite nice to look at but confused moral and philosophical messages tarnish the film precisely where it should shine. 4/10