Film: Angel-A
Release date: 29th January 2007
Certificate: 15
Running time: 87 mins
Director: Luc Besson
Starring: Jamel Debbouze, Rie Rasmussen, Gilbert Melki, Serge Riaboukine, Akim Chir
Genre: Comedy/Crime/Fantasy/Romance
Studio: Optimum
Format: DVD
Country: France
With its release in 2005, this became the first film in six years to be written and directed by Luc Besson. The French auteur’s name alone brings overwhelming expectation, but with an all new leading lady and Paris framed in enticing black-and-white, how has this exciting prospect faired as an addition to an already prestigious CV?
For petty criminal Andre, a fresh start is the only answer to his problems. His return to Paris is supposed to allow for him to leave his life of crime behind, but instead it intensifies his already desperate situation. Old debts catch up with him in the shape of underworld mob boss Franck and he is given an ultimatum: “You've got 'til tonight, midnight. After then it's tomorrow, and tomorrow you'll be dead.” With no allies to turn to or places to run, Andre is helpless to save his own life.
He turns to suicide and heads to throw himself off a Parisian bridge. However, he finds the beautiful Angela at the side of the bridge also entertaining ideas of suicide - his attempts to stop her only lead to them both jumping. Sat at the side of the river with the girl in his hands, he is amazed as she regains consciousness.
Angela vows to help Andre in his mission as thanks for him saving her life. The mystery of Angela grows, as she is able to produce the money that Andre so desperately needs - she does so by seemingly prostituting herself to an impossible bar load of men. This amazes and confuses Andre in equal measure, as he questions Angela’s motives and seemingly divine capabilities. He has been given a second chance to realise the potential within him, and to pursue the most unlikely of romances...
Prior to the release of Angel-A, Besson had by no means been hiding in the shadows. The man who asserted himself with classics such as Le Femme Nikita brought his distinguishable style and penchant for explosive action to Hollywood with Leon and The Fifth Element. These films created a buzz around his talent, but since their success he has failed to reach such great heights - he had been producing left, right and centre and scribed relative hits such as The Transporter and District 13, but fans have been left wanting another stand out Besson-esque picture. Sadly Angel-A is not it.
That is not to condemn it entirely, as it does have a lot of plus points. It provides a lot of visceral satisfaction with an ever appealing Parisian backdrop that features vibrant streets, genteel night-spots and landmarks, such as The Eiffel Tower and La’ Seine, featured in the shoot. The cinematography is stunning and shot in cinemascope black-and-white, which serves to paint a more stimulating picture of the ‘illuminated city’ than many have achieved onscreen. Besson is a Francophile, and this translates with the cinematic return to his beloved city.
The visceral qualities do not end with the setting, as Besson casts Danish actress Rie Rasmusen as Angela. The director’s love for beautiful leading ladies is something evident in a lot of his films and the physical resemblances between Rasmussen and Besson favourite Milla Jovovich is particularly perceptible. The character traits of Angela also seem a little familiar, as she kicks ass with a childlike indifference seen in The Fifth Element’s Leeloo. Unfortunately, the action is not as fulfilling - her super human powers grow wearier as opposed to slick and amusing. Her performance is not a standout, and the character is a much less appealing and forgettable Besson creation.
The mismatched romance between the two leads plays well on the likeability of Jamel Debbouzze. He carries all the comic timing and awkwardness into this role that had made him so memorable in hits such as Amelie. Andre is perhaps a character type, a fast talking, luck-riding loser whom for most of the film we struggle to see any redeeming features. Debbouzze, however, has the talent to make this work, and although the script doesn’t fully allow us to completely empathise with him, he has the capacity to make us laugh - and make us feel his pain (a scene in which he stares teary eyed into the mirror is the most memorable of the film). The drive of the film is his transformation, and that is the most affable premise here.
This is by no means a non-event but it is not the return to form we had hoped for Luc Besson. Although it lacks the original genius of many of his earlier successes, it does have a lot about it worthy of your attention. Paris has never looked so good and in Jamel Debbouze he has found a real acting talent. We can only hope the next big Besson hit isn’t too far away. LW
No comments:
Post a Comment