Friday, June 10, 2011

L'Ange Noir (1994) Jean-Claude Brisseau

L'Ange Noir aka Black Angel (1994) Jean-Claude Brisseau Dvdrip
Runtime: 95mn Aspect Ratio: 1.33:1 File Size: 1115mb
Language: French Subtitles: English (srt file)
Country: France Color: Color

Director: Jean-Claude Brisseau
Sylvie Vartan ... Stephane Feuvrier
Michel Piccoli ... Georges Feuvrier
Tchéky Karyo ... Paul Delorme
Alexandra Winisky ... Cecile
María Luisa García ... Madeleine (as Lisa Hérédia)
Philippe Torreton ... Christophe
Bernard Verley ... Pitot
Claude Faraldo ... Aslanian
Claude Giraud ... Romain Bousquet
Claude Winter ... Mme. Pitot
Henri Lambert ... Le juge Dumas (as Henry Lambert)
Francine Olivier ... Mme Dumas
Gérard Lecaillon ... L'inspecteur de police
Aline Perrier ... La petite fille
Jean Bourgnac ... Le directeur de prison

Description: In this stylish French drama fits well into the film noir genre. A visitor comes to the home of Stephane, the wife of an important magistrate. She, claiming attempted rape, calmly shoots him. The visitor is the legendary gangster Wadek Aslanian who was beloved as a latter day Robin Hood. Stephane's husband hires a lawyer, Paul, to defend her. Paul learns many disturbing things about Stephane's sordid past when he starts receiving anonymous letters describing her exploits which included prostitution, performing in porno-movies, and most interestingly having a liaison with Aslanian. The judge is ignorant of his wife's past. Despite her dark and mysterious past, Paul cannot help but fall in love with Stephane.

Brisseau s baroque melodrama has a conventional plot - a beautiful but mysterious femme fatale Stéphanie (Vartan, made-up to look like Kim Novak in Vertigo) is on trial for killing a gangster - but the writer/director attacks his material with a gusto that might have made Douglas Sirk blush. Piccoli is Stéphanie's all trusting magistrate husband, blissfully unaware of her double life or quite how often she's cuckolded him. Karyo is the lawyer defending Stéphanie, and he's also secretly in love with her. There are extravagant courtroom scenes, lavish parties with self-consciously overblown music and swooping camerawork. Between times, Brisseau throws in prurient Tinto Brass-style sex scenes, while mercilessly mocking the bourgeoisie by showing up the absurdity of their legal and social customs. The jolts in style are disconcerting and certain scenes verge on the kitsch, but this is still rich and heady fare.


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