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I am reviewing The Angel prior to its big showing this evening (go, if you’re in Utah Valley). Although I was able to watch it on a very big screen, I watched it all alone, and I think this movie will be awesome with a crowd. I’m jealous of you.
I knew The Angel would make interesting choices when Sam Cardon’s opening music faded away as the husband prayed over his family’s meal (they are husband, wife, wife) and, instead of hearing his prayer, I was given silence.
I will not give much away at this too-early juncture, but let me obliquely express my favorite bits and suggest some questions for the Q&A should you not have plenty of your own.
I love the quality of the actor’s faces, in particular the women as they emote and the angel in his ambiguity and age.
I love the creation of the angel, perhaps especially the use of light off an actress’s face as it undergoes a series of emotions, but the simplicity of the choices throughout was excellent.
My questions may come down to the differences between features and shorts which are, after all, different beasts that do different things.
For instance, I’m curious how well the story can work without a certain innate audience-held understanding of Mormon details, notably the setup and execution of the handshake scene.
And I wasn’t totally sold on the film’s final moments; I thought I knew why this was, but then I read another review and I realized that my deeper issue is the film’s uncertain take on polygamy—good or bad?
Now, good art generally prefers questions over answers, but this shorter version of this story only asks questions and it’s unsettling—not in a horror way, but in an is-there-enough-here-to-really-hold-onto way.
And that’s why you who will watch it tonight are in a better position than me. As you discuss the film together and with the filmmakers, you can unravel the details and arrive at firmer conclusions.
I’m jealous of you getting to see Doug Jones up close as the angel for the first time—together.
Have fun!