Movie Review – Angel Heart

http://www.imdb.com/title/tt0092563/

When a movie flat out breaks at the box office but posteriorly becomes a beloved masterpiece, it’s called “cult”. In case you already knew that and are now thinking I’m an arrogant shit who finds himself clever for explaining that, sorry (and go fuck yourself). “Blade Runner” would be a perfect example – it was a disaster when it came out and is now acclaimed as one of the greatest films of all time. “Angel Heart”, though, wasn’t so lucky. It flopped at its release and, to this day, gets mixed reviews. Which couldn’t be stranger, considering it’s a wonderfully well-written noir that gets it right in every technical and emotional aspect and offers a stumpedous performance by Mickey Rourke.

Harry Angel (Mickey Rourke) is a private detective, hired by a cult leader named Louis Cyphre (Robert De Niro) to find a man that owes Cyphre a debt. The movie follows Angel’s investigations, that become more dangerous as he proceeds until it reaches a horrifying revelation. No, not very different from your typical noir story, but the power of the film is in the execution and in Rourke’s  inexplicably ignored performance, which wasn’t even nominated to a single bloody award.

Since the script seldom leaves Angel’s point of view (only in the initial credits, I believe), it’s fair to say Rourke carries the movie on his back – or he would, if the movie needed carrying. Even with another actor, “Angel Heart” would be interesting enough to hold your attention, thanks to British writer and director Alan Parker. The intriguing plot is moved forward by good characters whose  sharp dialogue never sacrifices realism for wit, reaching a balance between both that prevent the typical “nobody TALKS like that” reaction. It’s a polished screenplay that starts solid, becomes very good as the movie progresses and then superb in the third act.

As the director, Parker – apparently aware he was working with an excellent cast – favors angles that show the actors’ reactions, but also allows for good frame composition, aided by the beautiful cinematography and the precise editing. The shadows, for example, are used to great effect – something clear in the scene that happens in Dr. Fowler’s kitchen, which is initially dark, or in the moments involving the mysterious elevator. Parker is, however, as subtle as he can be – like when he portrays Harry’s fascination with the girl Epiphany (Lisa Bonet) by adding a close-up of her face as she washes her hair – a frame that exposes all her charm and pure beauty.

Parker also adds an extra layer of intrigue with quick scenes that seem to make no sense – they’re more like dream sequences Harry has, but which, by the ending, become quite clear and turn out to be good foreshadowing. Violent foreshadowing too, since the director doesn’t turn away from violence or nudity – there’s a sex scene\delirium that features both and which I understand had to be trimmed so the movie would be given an R rating. Both, however, are vital to the plot.

It would already be a great movie without Mickey Rourke. With him, it’s easily a masterpiece. Absurdly convincing as Harry Angel, Rourke’s laid back, smartass attitude never becomes cliche, since he constantly offers glimpses of further complexity – like his barely noticeable look of guilt when he finds out one of the people he interrogated has been murdered, or the charming tone of his voice when he talks to a woman, or the sudden glint of danger in his eyes when he’s threatening someone – or, best of all, how he becomes more disturbed by his investigations as the movie goes on, reaching a spectacular climax that is not only brilliant thanks to the script, but especially thanks to Rourke, whose performance in this bit is nothing short of perfect – it’s heartbreaking, the look of desolation within his eyes. How this work of genius was ignored like it was is beyond me, and I’m very glad to see Rourke’s talent being finally fully acknowledged in the recent “The Wrestler”, which I haven’t watched yet, but which I’m sure won’t disappoint me when it comes to the protagonist.

The rest of the cast is overshadowed by Rourke, but that doesn’t stop them from doing excellent jobs – special mention goes to Robert De Niro, who uses a careful speech and a hypnotic body language to establish Louis Cyphre as an enigmatic figure (the way he smiles in the ending of the film, amused, is a vital touch by De Niro). The beautiful Lisa Bonet does not limit herself to being beautiful, and is wholly convincing as a young, poor mother. The remainder of the cast, from the fat detective to the scared Dr. Fowler, is appropriate and inspired.

With a good, moody soundtrack by Trevor Jones and the excellent choice of licensed music (“Girl of my Dreams”, by Kenny Sargent, is vital to making the ending as poignant and powerful as it is), “Angel Heart” is brilliant from its very title to its last frame – and the best thing is that the third act doesn’t need to be taken literally: two interpretations are perfectly possible, and whichever you choose, it’s still a polished, interesting plot. And even if you dislike it, the movie would be worth seeing for Mickey Rourke alone.

Bravo.