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Angel-A (2005)

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A beautiful woman helps an inept scam artist get his game together.

Director:

Luc Besson

Writer:

Luc Besson

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Cast

Cast overview, first billed only:
Jamel Debbouze ... André Moussah
Rie Rasmussen ... Angel-A
Gilbert Melki ... Franck
Serge Riaboukine Serge Riaboukine ... Pedro
Akim Chir Akim Chir ... Le chef des malfrats
Eric Balliet Eric Balliet ... Garde du corps Franck
Loïc Pora Loïc Pora ... Le malfrat #2
Venus Boone Venus Boone ... La mère d'Angela
Jérôme Guesdon Jérôme Guesdon ... Le malfrat #3
Michel Bellot Michel Bellot ... Le planton US
Michel Chesneau ... Le flic commissariat
Olivier Claverie Olivier Claverie ... Le sécrétaire US
Solange Milhaud Solange Milhaud ... La femme de Saint-Lazare
Laurent Jumeaucourt Laurent Jumeaucourt ... Le dragueur
Franck-Olivier Bonnet Franck-Olivier Bonnet ... Le dernier client
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Storyline

André, a small-time ex-convict, seems to owe money to everyone in Paris, including a crime boss who promises to kill him if he doesn't repay him by midnight. After failing to find protection from the American embassy and the French police, a despairing André scrambles onto a bridge over the Seine, intending to leap to his death. He is surprised to see a tall, beautiful girl clinging to a rail on the same bridge, apparently preparing to end her life as well. She jumps, and he jumps too, suddenly resolving to save her life. After scrambling ashore, she tells him her name is Angel-A. Together, they take a cruise on the Seine, repay André's creditors, visit a Parisian nightspot, and more, as Angel-A helps André. He learns that for this purpose she has fallen out of the sky and into his life. André finds himself falling in love with this mysterious beauty. Written by Charles Delacroix

Plot Summary | Plot Synopsis

Plot Keywords:

seine | money | olive oil | blonde | loser | See All (58) »


Motion Picture Rating (MPAA)

Rated R for language and some sexual content | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France

Language:

French | Spanish

Release Date:

21 December 2005 (France) See more »

Also Known As:

Ангел-А See more »

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Box Office

Budget:

EUR15,000,000 (estimated)

Opening Weekend USA:

$29,727, 27 May 2007

Gross USA:

$202,647

Cumulative Worldwide Gross:

$9,995,168
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital EX | DTS-ES

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Shot over a period of nine weeks. See more »

Goofs

When Andre is talking with Angel-a right after her rescue, his necklaces changes position in and out of his shirt. See more »

Quotes

Angel-A: And you - you remind me of those people, at lunch, who take a second serving of bread to finish their cheese. And then, they take more cheese, to finish the bread. And with the French, it's even more complicated. They take more wine, to finish both. Afterwards, they're surprised to still be at lunch at 3:00 in the afternoon.
André: What kind of lame example was that? I don't like cheese. And I don't see your point, anyway.
See more »

Connections

References Candid Camera (1953) See more »

Soundtracks

"Crossroads
Performed by Eat
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User Reviews

 
Jump off a bridge and fall in love
11 January 2006 | by Vomitron_GSee all my reviews

The last time Luc Besson directed a movie, was back in 1999. The last six years he occupied himself with his production-company EuropaCorp and by writing a lot of screenplays. Now he's back with his 9th feature film, ANGEL-A. This time no gunfights, car-chases or explosions. Nope, this time the man brings us, of all things, a romantic comedy. The movie is completely shot in Paris and seems to be one of the most secret projects of French cinema. Honestly, I can't see why, except maybe for a nice plot-twist which is presented to us halfway through the movie and not, as usual, near the end.

The plot (don't worry, no spoilers): André is a regular swindler. He lies and cheats all the time and owes money to almost every criminal in Paris. After being beaten and threatened for the umpteenth time, he decides to kill himself by jumping off a bridge. On the verge of committing this act of despair, while standing on a bridge, he looks to the left and sees a girl about to do the same thing. When she jumps, he jumps after her and saves her from drowning. She's so thankful that she offers to do anything he wants while constantly remaining at his side. Suprisedly, she turns out to be a real life-saver by finding a lot of dubious ways to earn money and pay off André's debts. After a while André wants to know why she's doing all these things for him and is curious about her past...

Jamel Debbouze (you might know him as the slightly retarded grocer's assistant in LE FABULEUX DESTIN D'AMÉLIE POULAIN) is particularly good as the nervous André. The Dannish Rie Rasmussen, a sexy blond goddess with legs that go all the way, takes a little more time to convince as Angela. However, there is a certain chemistry between the two of them. The other characters are merely caricatured portraits of criminals and gangsters.

The story is rather straightforward and relies a lot on funny situations and dialogues. A lot of talking is being done and I must say most of the lines are well-written. Near the end of the movie, unfortunately, Luc Besson goes way over-the-top, making the movie lose a lot of credibility. But then again, it just might be possible that the end could be interpreted in two different ways. And that makes me suspect that Besson likes to play it safe by trying to please as many viewers as possible.

Anyway, a very important reason to watch this movie is the atmospheric black & white-photography by cinematographer Thierry Arbogast, who also worked on Besson's previous films. Paris, during autumn, is beautifully transferred to the screen with well-balanced lighting. The movie also has some impressive shots of 'la Tour Eiffel', a cathedral in 'le XVe arrondissement' and the many bridges to be found in Paris.

Most likely ANGEL-A will have as many defenders as adversaries, not necessarily to be divided in Besson-fans and not-fans respectively. But both parties will have to admit Besson had the guts to try something different. So let the box-office decide whether this genre-effort is successful or not.


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