Angel Page #6

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


he was an idle degenerate

that you disinherited.

I had no idea his uniform

made him a hero.

- What a wonderful thing

the war is.

- I'm simply saying,

Miss Deverell,

that I'm glad to see Esme

finally becoming a man.

You must miss him a great deal.

- Yes.

- If there's anything I can do--

- There's nothing anyone can do!

I have my work.

- There's a great loss

to literature

every time we drag you

from your desk, Miss Deverell.

But I do believe that

by helping us in the war effort,

you might feel

that in your own small way

you were fighting

at Esme's side.

- What do you mean,

the war effort?

- Well, for example,

you could allow us

to set up a second hospital

here in Paradise.

- Paradise? A hospital?

- Yes.

It would be extremely useful

to us.

- This war...

has separated me

from my husband.

It has been the cause

of our first disagreement.

I do not allow Nora

or anyone else

to mention it in my presence.

And I will never let Paradise

fall into the hands

of warmongers and criminals.

More tea, Lord Norley?

- I think perhaps it would be

as well if I were to go.

- Better for the war effort,

certainly.

- Madam?

- Yes?

- I'm leaving.

(crying in pain)

- Oh!

(gasping)

- How advanced was it?

- Less than three months.

- If only my brother

had been here.

- I suppose it could've made

a difference.

- And what should I do now?

- Once she's over the shock,

she'll start to recover.

She just needs rest.

- You're feeling better?

- Not bad.

- Do you want me

to write and tell Esme?

- Tell him to come home...

... even if it's just on leave.

Tell him that I miss him

and that I forgive him.

But nothing about the baby.

- He has a right to know, Angel.

- He has no right to know.

He deserted me.

- He didn't desert you.

He just, for the first time

in his life,

made a grown-up decision.

- He's ruined everything.

Everything.

- He hasn't ruined everything.

- I'm still here.

And we've just got

to wait for him to come home.

- Esme's desperate

to become a father.

If he finds out I lost his baby,

he'll never come home.

Please...

promise me you won't tell him.

- I promise.

(train whistle blowing)

- Oh, darling!

(background chatter)

- Mr. Gilbright.

- Miss Howe-Nevinson.

Did you have a good trip?

- A long one,

but at least I'm here.

- Very good of you to come.

- I feel bad. I lied to Angel.

I said I was visiting

an elderly aunt in Kensington.

(chuckling)

- I had to lie to my wife

as well.

Thank you.

I don't know

what we're going to do.

Her last book, I'm afraid,

was a terrible disappointment.

- I thought

that was because of the war.

- No, I'm afraid

it was because of the book.

Her readers are disturbed

by this new-found pacifism.

They don't see what place it has

in a romantic novel.

And frankly, I agree with them.

I've said this to Angel,

naturally, but she won't listen.

- But she's still

a great writer.

Nothing can alter that.

- What she needs to do

is to get back

to the way she used to write

and give people something

to distract them

from this wretched war.

If she doesn't, I ask myself

what's going to happen.

And I'm not just saying this

as her publisher,

but as her friend.

Miss Howe, are you alright?

- Look behind you.

Carefully.

- Who on earth is she?

- She's an old acquaintance.

My God, what if Angel finds out

he was on leave?

How could Esme do this to her?

I'm going to talk to him.

- No, no, no! Nora, Nora, Nora.

Leave him be. Really.

- Well? What's it like?

- Not wonderful.

- Such a shame.

- Don't tell me

you're feeling sorry for Angel.

- Now everybody's

criticizing and rejecting her,

I do feel

a kind of pity for her.

Perhaps I understand you more.

- Understand me?

- Yes.

Because you had

the courage to publish her

when no one else would.

And you were right.

- I'm pleased to hear you

finally taking her side.

(scoffing)

- I can't take her side

as a writer.

There's not one of her books

I could ever enjoy.

But I've come

to admire the woman.

Despite all her bad taste

and absurdities,

she fought for her dreams

and got everything she wanted:

success, fame...

Even the man she loved.

- The man she loved.

- Are you still

in love with her?

(scoffing)

- What makes you say that?

- Your eyes.

- Angel!

A telegram!

- Well, open it.

Oh, my God, he's been killed.

- He's wounded.

They're sending him home.

They're sending him home!

- Oh! Oh!

- And what will you do

now you're home, Esme?

- Paint! I'd love you

to paint my peacocks.

You should see them

when they fan out their tails.

- I'm not sure Esme is going

to want to paint your pet birds.

Not after

what he's just been through.

- But we have

to forget all that.

None of it matters now.

Things'll be just as they were.

- Just as they were?

- Yes. You've lost your leg,

but it's not like you're dead.

And I'll buy you a wheelchair,

and then you can go

wherever you like.

Do you want me to help you?

- No.

- Good night.

What're you doing? What is it?

(sighing heavily)

- I've missed you, Angel.

- Are you sure

this is a good idea?

With your leg...?

(Esme breathing heavily)

(grunting)

- Actually, I don't think

Angel could bear it

if you left a second time.

- So what do you expect me

to do here in this mausoleum?

Try to bury me alive?

- No, I expect you

to use the studio to paint.

- Paint what?

Sultan?

Angel's cats?

- Paint what you saw in the war.

- Nobody's interested in that.

They'd rather forget.

- I was looking

at your Greek sketchbooks

and there were

some loose drawings--

- So what? Throw them away.

What's the point?

- I liked them.

(laughing)

- Come on, Nora.

Spare me your pity.

You've never liked

a single thing I've ever done.

You saw me in London,

didn't you?

- Yes.

- Did you tell her?

- No.

(Angel giggling)

- "Dear madam,

"having had personal experience

of the horrors of war,

"I would ask you

to spare your readers

"those sadistic descriptions

and stylistic mannerisms.

As a lover of literature

I feel the--"

(Angel laughing)

- Oh, stop!

That's enough. Burn it.

Thank you, my darling.

- Angel...

- Mm-hmm?

- There's something

I have to ask you.

- Oh?

- It's about money.

- What do you mean?

- I've got none left

and I'm drowning in debt.

I'm very, very sorry.

I realize how much

you must regret

having married a gambler.

A chronic one, at that.

- I've never regretted it.

Have you?

- You're the one

who has every reason to.

Nora always said

I married you for your money.

- I don't have any money.

- That's it, then,

I'm finished.

- Of course not.

I can get money.

It's just a case of giving

the public what they want.

- I feel despicable

asking you like this.

- How soon?

How soon do they want it?

- Well, with gambling debts,

I can always stall

for a little while,

but eventually...

- Don't worry,

I'm going to start writing,

and I'm not going

to leave this room

until I've written "The End."

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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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