Angel-A (2005) Poster


User Reviews

Review this title
91 Reviews
Sort by:
Filter by Rating:
Jump off a bridge and fall in love
Vomitron_G11 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.
81 out of 98 found this helpful. Was this review helpful? Sign in to vote.
A touching and funny in parts film about learning to love yourself
fizzylizzy441 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.
58 out of 70 found this helpful. Was this review helpful? Sign in to vote.
spacegirlg7 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.
101 out of 131 found this helpful. Was this review helpful? Sign in to vote.
Beautiful story about human relations
ioogri1 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 ;)
73 out of 94 found this helpful. Was this review helpful? Sign in to vote.
An angelic love story
come2whereimfrom13 August 2006
Warning: Spoilers
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.
47 out of 60 found this helpful. Was this review helpful? Sign in to vote.
Respire - Regarde - Voilà!
barry_mooney22 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
19 out of 23 found this helpful. Was this review helpful? Sign in to vote.
...Just about everything a movie can do..and some more,maybe....
alexa_bow5 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.
49 out of 70 found this helpful. Was this review helpful? Sign in to vote.
Filming early the morning
DCLXVl25 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.
29 out of 43 found this helpful. Was this review helpful? Sign in to vote.
A movie about ethics, i.e. about how to be better human beings.
jm-barreto2 August 2006
Angel-a can be described as a romantic comedy, as a movie about angels and as one about therapy. As a romantic comedy it is a good and charming film, which stands far away from the omnipresent and boring Hollywood romantic comedies. As a movie about angels it is not convincing, and the best it can be said in its favour is that the movie is an heterodox rendering of angels, half divine and half too-human.

But the best use that can be given to this film is to adopt it as a manual of cognitive or rational-emotive therapy. A well respected field within psychology, cognitive therapy looks for transforming distorted thinking, which it is said, affects the mood, the behaviour and the life of people. That is simply what Angel-a does with Andre, giving him reasons to love himself, and teaching him techniques to change the way he thinks or speaks of himself. If we go to cinema some times to enjoy ourselves and some times to bring something to our lives, this movie allows us to do both. Art and cinema have also ethical consequences -in the sense of Foucault- giving us clues about how to live our lives better. In this sense the best description of Angel-a is given above by Elizabeth Arthur when she says that this is "a film about learning to love yourself".

Only one question remains: Why a director like Besson, who has been making movies about violence, decides to read about cognitive therapy and bring angels to earth and make a film like this?
21 out of 30 found this helpful. Was this review helpful? Sign in to vote.
Besson wanting to claim himself as an "auteur"
hardwalker21 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.
48 out of 80 found this helpful. Was this review helpful? Sign in to vote.
Delightful Comedy
Ruafo29 May 2006
I must admit, I was worried. The first directorial effort by Luc Besson after 6 years, and Besson having produced (and written) movies in between that can IMHO be only described as crap. No need to worry however: Angel-A is simply a delightful film. Expertly framed by Thierry Arbogast it presents a very simply story in a genuinely funny and original way. Both Jamel Debbouze and Rie Rasmussen are perfectly cast and seem to be having a lot of fun playing their respective parts. While one could say that the general setup of the picture is hardly new, it really doesn't detract from the enjoyment of the film or the underlying story. The film doesn't present many twists and turns, the ending can be foreseen about halfway through the film. The joy of getting there however makes up for any of the afore mentioned problems.

Now, please Monsieur Besson: Don't make us wait 6 years for the next live-action picture!
29 out of 47 found this helpful. Was this review helpful? Sign in to vote.
Simply Awesome!
Sylviastel5 December 2013
This film is about Andre Moussah, a broke man on the edge with debts to pay, in beautiful Paris, France. He jumps off one of the city's bridges one early Sunday morning to save a beautiful woman named Angela. She is tall, blonde, fast talking, intelligent , and ready to help Andre out any way she can. The movie is beautifully done in black and white with Paris in all its glory. Andre and Angela make an unlikely couple but Angela isn't who she appears to be. The actors do a first rate job in making me love this pair. I love the music. Luc Besson is a brilliant director who also wrote the screenplay. Besides being serious, this film is a lot of fun to watch anyway. You wish to be like Angela.
6 out of 8 found this helpful. Was this review helpful? Sign in to vote.
A beautiful and imaginative film, in both character and presentation.
ThreeSadTigers22 February 2008
Warning: Spoilers
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.
7 out of 11 found this helpful. Was this review helpful? Sign in to vote.
Don't Like "Foreign" Movies? Try this one
danzeisen14 March 2008
As the title indicates I am not overly fond of foreign films, particularly those which make me view subtitles. This one blew me away- I love action movies, but this is something special and speaks to that which makes us all special. The movie deals with dilemmas we all face; our own self worth, attractiveness, need for love, and redemption. So many popular movies are known for their characters- ie. a "Samuel L. Jackson Movie..." Angel A portrays people as people, it feels so much more real. Good movies deal with real issues, great movies deal with real people, people we could really care about in real life. Try it- you may really like it!
13 out of 24 found this helpful. Was this review helpful? Sign in to vote.
A beautifully shot French film
VagueVoice23 March 2008
Luc Besson's 'Angel-A' is visually beautiful. As Rie Rasmussen explains in the making-of special feature that if you stop the DVD at any shot then it is, 'an image to keep forever', meaning that every shot is visually stunning. The film is shot in a film noir genre, which further adds to the overall feel of the movie, with great use of light and shadows which give a very unique feel to the film. This also portrays Paris in a stunning and interesting way..almost being like a third main character. Debbouze and Rasmussen are a pleasure to watch, which is well achieved by casting 2 people that appear so different. They work really well together. The subtitles and foreign language also add to the emotional feel of the movie. Overall a beautiful piece by Besson and I would recommend it highly.
6 out of 10 found this helpful. Was this review helpful? Sign in to vote.
Happiness is not in heaven
Chris_Docker20 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.
11 out of 22 found this helpful. Was this review helpful? Sign in to vote.
Looks good but lacks any real depth. Shame.
howardvause20 August 2009
Warning: Spoilers
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
8 out of 15 found this helpful. Was this review helpful? Sign in to vote.
a conflicted movie if ever there was one
alienworlds23 August 2009
I have never seen a more annoying character in any film as the character of Andre played by Jamel Debbouze in this film. The character is an absolute hemorrhoid, and the character actually gets worse-not better- as the film progresses, which is surprising. Told as an urban fable, it has merit, but I found myself chewing the popcorn bag near the end, where the big victory is Andre dethroning an angel, when the character more aptly deserved to be thrown into the Sienne in a big bag full of rocks and left there. A gorgeous actress plays the part of an angel in this movie-and she is excellent in the part. I only gave it a five because of the completely unbearable character played by JD. If I had been the director I would have ended the film differently. Andre knew zip at the end, and deserved no reward to me.
3 out of 4 found this helpful. Was this review helpful? Sign in to vote.
Dear Lord, THIS is what angels should look like! Mercy!!
rooprect1 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.
4 out of 6 found this helpful. Was this review helpful? Sign in to vote.
Are you kidding?
Klickberg22 May 2007
Warning: Spoilers
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.
11 out of 24 found this helpful. Was this review helpful? Sign in to vote.
A story about self-discovery and falling in love
AkashMukherjee929 July 2011
Warning: Spoilers
Luc Besson delivers.Not just as a director but as a visionary.We see exactly what he wants us to see.And believe me,what he sees is indescribable beyond words.Angel-A is not your typical love story.It breaks your heart and takes your breath at some points.A story revolving around Andre- a scamster who gets into deep trouble with Parisian loansharks finds himself standing on a bridge ,ready to jump off into the Seine below,having few other choices with his life.He turns to look around and sees a beautiful woman ready to jump off too.As she jumps into the river,he saves her.In return,she offers him any favour he wants.Soon,the story gathers pace as we see Andre and Angel-A,working their way to get Andre out of trouble with the mobsters.but as time flies on,Andre finds himself falling in love with the woman.

Those who haven't watched the movie,my advice to you is-Please do.A beautiful love story set in the romantic city of Paris,Angel-A will steal your heart.A story that mainly focuses on character-development rather than mindless script work,Angel-A is a gem from Luc Besson.
5 out of 9 found this helpful. Was this review helpful? Sign in to vote.
You swallow everything. Like a fish."
souther026 February 2011
Angel-A, the character, is an enigma. Is she actually an angel? Only in one instance does she exhibit any powers. A bit about Rie Rasmussen: Among other worldly powers, she is a 5'10" professional model who is also an actor. "Angel-A" a Eurocorp film is foreign by American standards and is all spoken French. The movie is in black-and-white and filmed completely in Paris. Angel-A is an enigma for many reasons. She shows an interest in Andre, a little guy who jumps off a bridge into one of Paris's rivers. Andre demonstrates that he can swim and fishes Angel-A out of the river. Now she plays the part of the person who owes this man her life. She quickly finds out that Andre is a Middle Eastern with a morbid/sarcastic humor who dabbles in olive oil. And other ventures that have landed him in...trouble. The angel tells him she will make all his financial troubles go away. Then the mobsters will go away and not kill him. So, early in the movie, as Angel-A is becoming Andre's friend and rescuer, she tells a lady in a bathroom that the guy Angel-A is with is a woman, actually. It's clear that Andre is not gay. Later in a restaurant is possibly the most romantic and sweet part of the film, where Angel-A tells Andre this revelation directly. Angela-A may be an angel, but she is not some sweet little angel with a halo and all of that. She is smart, thinking on her feet. She sizes up situations quickly. And with some experience in hand-to-hand combat, she could have easily kicked some butt throughout the film. Yet Angel-A, whose sidekick believes is a wild woman, is very much woman, and later Andre understands why.
5 out of 9 found this helpful. Was this review helpful? Sign in to vote.
Weird and Implausible Fairytale
claudio_carvalho28 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"
8 out of 17 found this helpful. Was this review helpful? Sign in to vote.
Just simply a marvelous, inventive film in black and white, filmed in Paris.
TxMike3 December 2010
Warning: Spoilers
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.
4 out of 7 found this helpful. Was this review helpful? Sign in to vote.
If I give you my life, would you know what to do with it?
tccandler10 April 2007
Luc Besson ["Leon (The Professional)" and "Fifth Element"] is a master of two things -- boldly unique visuals and oddball romantic pairings. Both are abundant in his latest film, a masterpiece called "Angel-A". There are moments of aesthetic perfection in this film that took my breath away. I caught myself beaming from ear to ear on more than one occasion as I marvelled at some of Besson's cinematic composition. "Angel-A" is inventive and beautiful and poetic.

Before I describe the film, let me say that it all leads to, and away from, one quite devastating scene. It is a scene, played out by the two leads, staring directly into a mirror and having a conversation with each other. The camera pans behind the glass, allowing us as viewers to become the mirror. I became so captivated by the emotions of that moment because I saw pieces of myself in Jamel Debbouze's character. For an instant, I entirely mirrored his feelings. After having seen over 3000 films in my life, it ranks as one of my favorite cinematic moments to date.

Jamel Debbouze plays Andre, a down on his luck Frenchman who is in grave financial difficulties with the wrong crowd. He is trapped in Paris because he has lost all of his identification, including the American green card that could get him back to his New York City home. The US embassy is not too keen to help him as he has a recent conviction for fraud on his record.

When all is seemingly lost and time has run out on his debts, Andre steps over the barrier to Le pont Alexandre III in order to throw himself into the Seine. Moments away from the desperate act, he peers to his left, only to see a statuesque blonde, twenty feet away, about to do the same thing.

Rie Rasmussen plays "Angel-A" (pronounced like Angela with a French accent), a 6-foot beauty with the body of a supermodel and the face of an angel. Weeping, she launches herself into the famous river. Jamel instantly follows in an attempt to rescue her. He drags her ashore.

Andre questions her desire to commit suicide. After all, how can someone so beautiful want to do such a drastic thing? Surely there most be something to live for? Angel-A returns the questions, which only serves to irritate him. He is just a short, average looking man, with enormous money problems. He loves no one and no one loves him. What more does he have to live for? She offers herself as a devoted friend, volunteering her life to him. What he says goes. Needless to say, Andre is sceptical.

What follows is a black and white tour of the most beautiful city in the world today. Luc Besson's incredible framing and camera work follows these two people as they dart in and around some of the most famous landmarks in Europe. There is nothing quite like Paris in black and white. Each and every frame of this film would hang proudly in any art gallery. It is one of the most aesthetically gorgeous films I've ever seen.

What makes it even more resplendent to behold is the presence of Rie Rasmussen. One would think that a supermodel with only one acting credit under her belt (as the diamond-clad thief in De Palma's "Femme Fatale") would not be a stand-out performer. One would be wrong.

Rasmussen is a renaissance woman if there ever was one. I've been a big fan ever since her infamous catwalk wink at the Victoria's Secret Fashion Show in 2001. She has since directed two magnificent & acclaimed short films, "Il Vestito" & "Thinning the Herd". Those efforts will soon lead to a major directorial production. She has published a book of her photography entitled Grafisk. Her canvas artwork is extraordinary. And, based on this performance, her acting skills extend far beyond making out with Rebecca Romijn.

Jamel Debbouze and Rie Rasmussen are perfectly cast as the hapless loser and the angelic guide. Both of them create three dimensional characters that are full of surprises. The two of them generate laughs and thrills and tears. It is a master-class in acting. I loved watching them, in what is essentially a two-character play, react off each other for the entire ninety-minute running length. There is passion. There is anger. There is silliness. There is tenderness. There is empathy. Debbouze and Rasmussen deliver on all levels.

"Angel-A" is a truly lovely film about finding love... for another as well as for oneself. It is superbly shot by the visual genius, Luc Besson... who finally matches that visual mastery with a story that earns such an effort. The lead actors will not win Oscars because The Academy never rewards such small foreign films -- but it should make an exception in this case. This film is endlessly entertaining, hopelessly romantic and devilishly witty. It is one of my favorite films in recent years and I urge you to go out of your way to find it.

Written by TC Candler
5 out of 10 found this helpful. Was this review helpful? Sign in to vote.
An error has occured. Please try again.

See also

Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews

Recently Viewed