ABOUT THAT ‘ANGEL HEART” SYMBOLISM

Yesterday, in the “Last Night’s Screening” section, I mentioned that after a dozen screenings I might have finally figured out what director Alan Parker was trying to tell us with the returning symbolism of that slow-turning fan.

WARNING: If you haven’t seen “Angel Heart” I’m about to spoil it completely — which, I promise you, would be a real shame.

In the story’s linear timeline, our first glimpse of the fan is seen in a shot outside a New York hotel room during the sacrifice of a sailor. If you remember, this was the ritual Johnny Favourite performed in the hopes of getting out of his contract for his soul with Satan. He ate the sailor’s heart and then stole his identity before becoming our intrepid P.I. Harry Angel. It’s also important to remember that Lisa Bone’s character informs us that Johnny (and therefore Harry) is/was the most truly evil person her mother had ever come across.

Unless I missed something, we only see the fan turn when Harry Angel is or is about to commit a murder off-screen. In other words, while Harry Angel suffers a blackout, evil Johnny Favourite returns to heinously murder those putting Harry on the trail of discovering who he really is.

Essentially, the fan tells us the evil in our protagonist is at work.

My two cents.

Man, I love talking  movies!

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Super-heroes are uniquely American in origin and reflective of the “Greatest Generation” that created them. Their progenitors can be traced to ancient myths though their direct foundation springs from American legends like Paul Bunyan and John Henry. Pulp literature fermented these heroes from the 1800s with Buffalo Bill, Nick Carter and on to Doc Savage. By the 1930s super-powered and costumed characters showed up in the newspaper comic strips including Popeye and the Phantom. 

The characters we now recognize as super-heroes crystallized with the debut of Superman in 1938. Representative of the American experience, Superman was the ultimate immigrant. Not merely from another country, the Man of Steel came from a whole different planet! With his success, publishers released a myriad of titles featuring crime-fighting patriotic adventurers who all fought for “truth, justice and the American way.” That included those who were born on an all-female island (the star-spangled Wonder Woman), from Atlantis (the Sub-Mariner), robots (the Human Torch) or even dead people (the Spectre and Kid Eternity)! Gaining super powers even reformed criminals as in Plastic Man’s case.  (more…)

I don’t judge movies by their source material, so I won’t judge “Watchmen” by the amazing graphic novel from which it comes. When we pay our 12 bucks to see a movie, nobody hands us a book to go along with it, so the moral contract between consumer and story-teller is that the story has to hold up on its own.

“Watchmen” works as a dark, post-modern, revisionist middle finger to the icons of our optimistic past. The plot isn’t its strong suit, the characters are what make “Watchmen” an impressive experience. Dr. Manhattan is a being who lost his unique electric field in a lab accident. He didn’t keep his hair, but he kept his blue penis, which is useful in revealing that he’s not Jewish. A Materialist god, Dr. Manhattan is losing his grasp on what it means to be human, even as he gains the ability to see life one molecule at a time. (more…)