Angel Page #5

Synopsis: Angel Deverell comes of age in Edwardian Cheshire knowing she will be a great writer. Rising above her class (her widowed mother has a grocery shop), Angel finds a publisher and a wide audience for her frothy romances. With royalties, she buys an estate, then she's smitten by Esme, a rake from local aristocracy and an artist of dark temperament. She hires Esme's sister Nora, who dotes on her, as a personal assistant, and pursues Esme. Angel is grandly self-centered, coloring her world as if it were one of her novels. When the Great War breaks out and reality begins to trump her will, can Angel hold on to her man and her public?
Genre: Drama, Romance
Director(s): François Ozon
Production: Lions Gate Films
  1 win & 3 nominations.
 
IMDB:
5.9
Rotten Tomatoes:
50%
Year:
2007
113 min
Website
492 Views


- Whatever's got into her?

- Could it be love?

- Esme!

Esme!

Esme!

Why did you leave?

I wanted to surprise you.

The painting...

- Why do you want

to humiliate me?

I hate those people.

- I thought

it would make you happy.

- Make me happy?

Make yourself happy,

more like it.

- No, that's not true.

I love the way you paint.

I want everyone else

to love you too.

- You're wasting your time,

Angel.

My paintings are worthless!

Nobody cares.

- Don't say that!

You're an artist, Esme.

You just need someone

to believe in what you do!

- When I look

into those eyes of yours,

I could almost believe it.

- You have to believe it, Esme,

you have to believe it.

(thunder crashing)

I could make you happy.

I could pay off all your debts.

You'd be free from all

the horrible sordid things

that keep you here.

Come with me

to Paradise House.

Marry me, Esme.

- Marry you?

Isn't that what the man's

supposed to ask?

- Who cares? I love you.

- You love me?

- I've loved you

since the moment we met,

and I'll go on loving you

until the day I die.

Continue please, Nora.

(crowd, shocked): Oh...!

(donkey braying)

- Oh...

I'm so pleased you're back.

I was so worried,

with all this talk about war...

- It's not because

of that nonsense.

I just missed Paradise!

- And I really missed you.

- Oh, it's so good to be home!

But where's Sultan?

I imagined him bounding down

the steps to meet me.

- Edwina, fetch Sultan

from the library.

- Yes, miss.

- Oh, you put the portrait here.

I'd rather imagined it

in the dining room.

- It's easily moved.

- And the curtains. I thought

we said the drawing room?

- I don't believe so. Of course

that can easily be changed.

(dog barking)

- Oh, Sultan! Hello, boy! Hello.

Oh, Sultan, have you forgotten

your poor mistress?

(laughing)

(dog whimpering)

That's not Sultan.

- I'm sorry, Angel,

I didn't want to spoil things

when you were away.

But Sultan...

unfortunately died.

- No!

- But I tried to find

another one the same.

(Esme laughing)

- Oh, well. Thank you, Nora.

(whispering):
Is it ready?

(whispering):
Yes, the workmen

finished this morning.

- Come, my darling.

- How exciting.

(Angel giggling)

- My word.

- Well, you've never

really had a proper studio.

(Esme whistling)

- Extraordinary.

- You're happy?

- Leave us alone.

- Oh, but I haven't shown you

what I've done to my bedroom.

- Later.

So? What do you think?

- It's... wonderful.

(Angel laughing)

But all this sunlight...

- What?

- It's not really normal

for a studio.

A studio normally faces north.

- So? You can finally have

some sunshine and colour

in your paintings!

- You're right. Fantastic idea.

- Aren't you happy?

- Yes, of course I am.

- This is where you're going

to paint your masterpiece.

- Nobody has ever given me

anything like this before.

Thank you, Angel.

- Can I come in?

- Not yet!

- Ready?

- Almost!

You can come in now.

- Oh. What is it?

- Water from the sacred spring

at Delphi.

Legend says

it has magical powers

and it used to inspire

the greatest of the Greek poets.

(laughing)

I brought it back

especially for you.

- Oh, thank you, Angel.

Oh...

(breathing deeply)

- Good night, sweet, sweet Nora.

- Good night, Angel.

Good night, Esme.

- I'm not sure there's room

for me and Nora

under the same roof.

- Of course there is.

Paradise is big enough.

And I need you both,

don't you think?

Where did you go?

- Walking in the garden.

- And did you find

a vista to inspire you?

- It's too dark to see,

but it's certainly ideal

for shooting.

- Oh, no!

Please don't hunt

the little animals.

Poor defenceless creatures.

- Take care,

I'm about to attack

a defenceless little creature

right now.

- No, Esme! Don't!

Don't! Stop it!

(giggling)

Oh, no, let him stay.

We've all got to be friends.

(dog whimpering)

Not in front of the dog.

- Dogs are used to it.

- "Her pale eyelids

"fluttering down

"over her huge blue eyes...

"... and the great love

of her life...

"... slumbering sweetly

at her side...

"... she whispered

these immortal words:

"'This is the most beautiful day

of my life.

"Together forever...

... living in Paradise'."

And how are my lovely flowers?

Why do you have

to make everything so dark?

What's wrong with using colour?

- But these are colours.

Look:
grey, burnt umber...

This part here's violet.

- But it's ridiculous.

They don't look anything

like that - all faded.

- All I'm doing

is painting what I see.

- In which case, what you see

has nothing to do with reality.

- Since when was my darling

Angel so interested in reality?

Everything you write's

a complete fantasy.

- But I'm not interested

in what's real,

but what's beautiful.

- As far as I'm concerned,

my flowers are beautiful.

- Do you know where Esme is?

- I think he is with Marvell.

- In the grounds?

- Maybe, or at the races.

(knocking)

- What is it?

- Excuse me, madam.

- Did I tell you to come in?

- No, madam. Sorry, madam.

But something terrible's

happened.

- Well? What is it?

- War!

They've declared war!

- Oh, my God, is she ever

going to stop crying?

- Angel, show some compassion.

Her fiance's joining the army.

- John, the gardener?

- Yes.

- Well, I hope he doesn't come

crawling back here

wanting his job back

in a couple of months.

- A couple of months?

A war can last for years.

- Oh, my darling!

Please forgive us,

we've started without you.

- Don't worry.

I've just come

to collect my things.

- To do what?

- I'm going to London.

I'm enlisting.

- Esme!

When are you leaving?

- This afternoon.

- You can't!

You can't do this to me.

We've just moved

into the new house!

- Angel, please don't.

This is not personal.

- Not personal?

- The country's at war.

I can't stay here cut off

from the rest of the world.

It wouldn't be right.

- Oh! So killing animals

isn't enough for you!

You need a war to satisfy

your thirst for blood!

- Don't be so ridiculous.

You don't know

what you're talking about.

It's got nothing to do with it.

- You're all the same:

violent, destructive,

needing to kill

just to prove you're a man!

- Well, if men

are so disgusting,

you'll be much better off

with my sister.

- You have no right

to do this!

You can't!

- Yes, I can.

- I warn you!

If you walk out that door,

you'll find it

slammed in your face!

- Please, Angel...

(sobbing)

... that's enough.

- Take care of her.

She's not as strong as we think.

- Of course I will.

I'm proud of you, Esme.

- I'm doing my duty, that's all.

- God knows how she'd go on

if he was killed.

- You're not to talk like that.

Esme will be back.

(sobbing)

- Good afternoon.

Is my niece at home?

- Oh, I'm sorry, sir,

but Miss Nora's just left.

- Oh.

- Don't tell Miss Deverell,

but she's helping out

with the war-wounded

in the infirmary.

- Well, good.

I do so wish I'd seen Esme

before he left for the front.

- Oh, really?

See, I thought

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Elizabeth Taylor

Dame Elizabeth Rosemond Taylor, (February 27, 1932 – March 23, 2011) was a British-born American actress, businesswoman, and humanitarian. She began her career as a child actress in the early 1940s, and was one of the most popular stars of classical Hollywood cinema in the 1950s. She continued her career successfully into the 1960s, and remained a well-known public figure for the rest of her life. In 1999, the American Film Institute named her the seventh-greatest female screen legend. Born in London to wealthy, socially prominent American parents, Taylor moved with her family to Los Angeles in 1939, and she was soon given a film contract by Universal Pictures. She made her screen debut in a minor role in There's One Born Every Minute (1942), but Universal terminated her contract after a year. Taylor was then signed by Metro-Goldwyn-Mayer, and had her breakthrough role in National Velvet (1944), becoming one of the studio's most popular teenaged stars. She made the transition to adult roles in the early 1950s, when she starred in the comedy Father of the Bride (1950) and received critical acclaim for her performance in the drama A Place in the Sun (1951). Despite being one of MGM's most bankable stars, Taylor wished to end her career in the early 1950s. She resented the studio's control and disliked many of the films to which she was assigned. She began receiving roles she enjoyed more in the mid-1950s, beginning with the epic drama Giant (1956), and starred in several critically and commercially successful films in the following years. These included two film adaptations of plays by Tennessee Williams: Cat on a Hot Tin Roof (1958), and Suddenly, Last Summer (1959); Taylor won a Golden Globe for Best Actress for the latter. Although she disliked her role as a call girl in BUtterfield 8 (1960), her last film for MGM, she won the Academy Award for Best Actress for her performance. Taylor was then paid a record-breaking $1 million to play the title role in the historical epic Cleopatra (1963), the most expensive film made up to that point. During the filming, Taylor and co-star Richard Burton began an extramarital affair, which caused a scandal. Despite public disapproval, she and Burton continued their relationship and were married in 1964. Dubbed "Liz and Dick" by the media, they starred in 11 films together, including The V.I.P.s (1963), The Sandpiper (1965), The Taming of the Shrew (1967), and Who's Afraid of Virginia Woolf? (1966). Taylor received the best reviews of her career for Woolf, winning her second Academy Award and several other awards for her performance. She and Burton divorced in 1974, but reconciled soon after, and re-married in 1975. The second marriage ended in divorce in 1976. Taylor's acting career began to decline in the late 1960s, although she continued starring in films until the mid-1970s, after which she focused on supporting the career of her sixth husband, Senator John Warner. In the 1980s, she acted in her first substantial stage roles and in several television films and series, and became the first celebrity to launch a perfume brand. Taylor was also one of the first celebrities to take part in HIV/AIDS activism. She co-founded the American Foundation for AIDS Research in 1985, and the Elizabeth Taylor AIDS Foundation in 1991. From the early 1990s until her death, she dedicated her time to philanthropy. She received several accolades for it, including the Presidential Citizens Medal. Throughout her career, Taylor's personal life was the subject of constant media attention. She was married eight times to seven men, endured serious illnesses, and led a jet set lifestyle, including assembling one of the most expensive private collections of jewelry. After many years of ill health, Taylor died from congestive heart failure at the age of 79 in 2011. more…

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Submitted on August 05, 2018

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