Review of Angel-A (2005) by Stuartfernie S — 19 Jan 2009

While ?Angel-A? may not be a crowd pleaser or a big money spinner, it is a most worthy addition to M. Besson?s filmography as a director. I found it entertaining, funny, absorbing, touching, thought-provoking and above all, interesting. It is also an abnormally intimate film. The focus is firmly on the two main characters. While the other characters may be in turn amusing, intimidating and even to some extent memorable, they are merely there to shed light upon the main characters or to advance the story line.

I wondered if such a long absence from the director?s chair meant that M. Besson had said all he had to say on the themes outlined above, but I am reassured to find that he has once again delivered an interesting take on the themes of personal growth, love, morality, society and even existentialism.

There is, however, an essential difference. In his films discussed above, the main characters were outsiders or loners who challenged society?s rules and who struggled to find a place in that society while remaining true to their natures. In ?Angel-A? André has succumbed to social pressure and has tried to fit in, only to find himself in trouble. He is an insider trying (or needing) to get out. He has not been true to his (honest) nature and he has become involved in amoral business dealings, doing deals with shady characters in order to survive. He has tried to fit in and has lied in order to please, and as a result he has lost any sense of worth ? in his own eyes as well as in others?.

Angela arrives when he is at his lowest ebb, when considering suicide, and sets about helping André both directly and by helping him recover his self respect.

André does not seek to impose his will on society, nor to attack it ? he is encouraged by Angela to seek freedom from the imposition of others? wills and not to be controlled. This freedom is to be gained through self respect and the rejection of others? views of him. André is persuaded by Angela?s belief in him ? not by the fact that she is an angel. Indeed the implications of this (morality, soul, afterlife) are largely ignored. At the end of the film the situation is rather turned on its head as André asks Angela to gain her freedom from God. He invites her to leave God out of it, and to make her own decisions and follow her own feelings. Once again God and religion are set aside in favour of following one?s heart and nature.

Both André and Angela need ?saving? and redirection ? he from the emptiness of lying and scheming, and she from the emptiness of having no attachments or any sense of real value. Once again love leads to freedom and self respect, and in this case freedom from being ?owned? or intimidated by others. They end up belonging to themselves and one another.

Of course, on the way to this end there is a process of self discovery with life lessons galore, the whole being told with an entertaining mixture of humour and purpose. Wherever he turns for help ? be it the American Embassy or a police station - he is faced with red tape and lack of warmth and caring. André is invited to keep things in proportion and to keep his eye on the ?bigger picture? rather than become over anxious about relatively minor problems. He is reminded of the values he held, but which he lost sight of in his desire to succeed in society, and he is reminded that ?success? in an amoral and self centred society is perhaps success without value.