Film Review: "Angel-A" (2005)The most unlikely characters come together at Luc Besson's first film after a six-year-break from an disappointed, overly ambitious, "The Messenger: The Story of Joan of Arc" (1999) starring Milla Jovovich, when here an independently-received as charming cinematic black-and-white gem comes along in form of an relationship between a small-time, in-town criminal and a long-legged blonde model "pret-a-porter" character of title-given "Angel-A", portrayed by Rie Rasmussen to the maximum of joyful seduction, enchanting edge-striking actor Jamel Debbouze, known for playing the character of Lucien in world-famous French-export-cinema "Amelie" directed by visionary director Jean-Pierre Jeunet as Luc Besson in his own right must recoup visual story-telling means of a past era of cinema-loving splendor, with counting on already-exhibited pictures as "Le grand bleu" (1988) and "Le cinquième élémente" (1997), to let "Angel-A" become a precision-test, just shot by entrusted as long-term befriended cinematographer Thierry Arbogast in compelling angles in eternal favors of the City of Paris, surrounding quarters as "Montmatre" and "Tour de Eiffel" in stunningly-captured exterior shooting days of less than 50 days in Summer of 2005 to present an unspectacular but honest motion picture of out-of-ordinary way of living in European's metropolis "Paris" with close regards toward the character of North-African immigrant Andre Moussah, completely filled out with beat, humour and bits of action by actor Jamel Debbouze, while Luc Besson as main-time executive producer of the 2000 founded company of "EuropaCorp" keeping close ties to Hollywood for the usual now more Disney Enterprises, Inc. owned "20th Century Fox" presentation as smash-hit-trilogy "Taken" (2008-2015) attracting Hollywood star as Liam Neeson to play action-oriented title roles. Copyright 2018 Cinemajesty Entertainments LLC

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.

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.

'I am a reflection of you' Angela tells Andre, with an assured, smile over their table at a Parisian café.'What, a beautiful, 6 foot tall slut?' He asks, amused.'Yes.' For those who truly read into those lines, I believe them to be the summation of Andre's dual character profiles (the aesthetic averageand the beautiful inside 'put simply', as Angela might say) and the marrying of all the elements together in this Luc Besson beauty...Angela is the physical manifestation of Andre's 'inside'. In physicality - on which we all naturally draw instant conclusions on the people we encounter...she is the obvious everything that Andre can't see in himself, as it would mean looking past the 'first layer' - the surface.His good nature evokes the saying of those who stand '6 feet tall' purely on the grounds of his goodness - a man to be looked up to. Her 'sluttiness' - that dress and attitude - is a reference to Andre's habit of whoring himself out indiscriminately to anyone, regardless of their true intentions, who'll show him the slightest bit of attention or superficial kindness (the gambling scene and it's lead-up in the bar, embodies this). Her beauty, the embodiment of the western mainstream ideals of femininity and attractiveness - tall, long-legged, blonde, generally model looking - refer to the all-pervasive 'good' that Andre really is inside.Luc, instead of being conventionally preachy by consistently arguing the self is more important than the superficial - actually engages both, a physical manifestation - one in which we all recognise - to exemplify another in a way that couldn't possibly be lost on his audience.Very well done.That line truly made the film for me - otherwise, an elegant, jovial, delicate and smooth-running watch.