Besson’s Angel-A is another extravagant and fantastic film from the French director. The film has a Neo-Noir atmosphere set in the subversive underground of France. Angel-A seems to take some influences from Frank Capra’s It’s a Wonderful Life and Wim Wender’s Wings of Desire. The angel featured in Angel-A is quite unconventional. She is a six foot tall platinum blonde (played by Danish model, actress, and director Rie Rasmussen) that knows how to use here ASSets. She has come to earth to save the life of an cowardly Algerian Arab (with American green card Citizenship) named Andre from his life of debt and nothingness. He is a mentally and physically weak man in which the angel Angela topples over of.
Angela inspires Andre to assert himself in life and to utilize honesty for his own benefit. Angel-A features very little in the way of action (especially in comparison to Besson’s other films). The film acts more as an inspirational to those lacking purpose in life. Angela is the opposite of the femme fatale featured in Film Noirs. She is the physical and mental embodiment of personal inspiration (claiming she is the femme part of Andre).
Terry Gilliam stated that his inner child is a little girl (in reference to his recent masterpiece Tidelands). Would that make Besson’s inner adult a gorgeous six foot tall model? I think that would be a little bit of an exaggeration (of course film is an outlet for such dreams and fantasies). Angel Angela is a much better angel to look at than Clarence from It’s a Wonderful Life.
Angel-A is Luc Besson’s most mature effort to date (I guess that happens with age). It is a solidly constructed and beautiful rarity in today’s cesspool of passable films. Luc Besson seems to have many more years of capable filmmaking under his belt (and such a grandiose belt it is). I will be sure to follows the fantastic frogs future efforts (I still need to see Arthur and the Minimoys).