What nearly saves the movie, besides the Rasmussen eye candy, is Paris itself, shot in shimmering black-and-white by the gifted Thierry Arbogast. Talk is cheap here, and often inane, but as a silent film, Angel-A could have been magic. show more
Movies often turn on slender notions worked up to look like full-fledged ideas. Once in a while, though, a notion will be fertile to begin with, a self-renewing source of delight. That's the case with Luc Besson's Angel-A. show more
What's maddening about Angel-A is that Besson is so brilliant with his visuals - and so in love with his two leads and the city they're parading around - that you desperately want the story, and the characters, to make some kind of emotional sense. This, however, does not happen. show more
March 10, 2011 Clarcard
Report This User
Fascinating story that kept me spellbound. Yes, the "heroine" is thoroughly dislikable. Not a genre piece of a rags-to-riches plucky gal, despite the knee-jerk reviews based on a hollywood mentality that requires adorable leads. Our Angel is no angel, and it is precisely her character flaws of pride and self-absorbed vanity that create the tension and paradox that lead to tragedy of monumental proportions. Juxtaposed on this tragedy is the social tragedy of women in turn-of-the-century England who had no possible expression for their talents, and many became servants of the upper class. Our Angel had her own rules of noblesse oblige, forcing her creativity on a world that not only embraced and enriched her, she played by and bent their rules to get what she wanted. Fassbinder played brilliantly the painter, who became her "bought" husband. She had no "class" but she recognized who did, and she used the system of class structure to manipulate and derive the life she wanted and that other women of her era craved and had no access to.