Fred is living in the Paris Metro system. He is blackmailing Helena, whose safe he has robbed. Fred has various 'friends' all living in this sureal setting. The Roller is a rollerskating ... See full summary »
André, a small-time ex-convict, seems to owe money to everyone in Paris, including a crime boss who promises to kill him if he doesn't repay him by midnight. After failing to find protection from the American embassy and the French police, a despairing André scrambles onto a bridge over the Seine, intending to leap to his death. He is surprised to see a tall, beautiful girl clinging to a rail on the same bridge, apparently preparing to end her life as well. She jumps, and he jumps too, suddenly resolving to save her life. After scrambling ashore, she tells him her name is Angel-A. Together, they take a cruise on the Seine, repay André's creditors, visit a Parisian nightspot, and more, as Angel-A helps André. He learns that for this purpose she has fallen out of the sky and into his life. André finds himself falling in love with this mysterious beauty. Written by
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.
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