Paul (Sigurdsson) is an artistic, thirtysomething Icelander with mental health problems. After he’s dumped by his girlfriend Dagny (Geirhardsdottir), his increasingly violent behaviour overwhelms his ineffectual parents - he’s taken to a mental hospital and diagnosed schizophrenic, Paul befriends scruffy Oli (Kormakur), a musician claiming to be the author of all the Beatles’ songs, and dapper Viktor (Fridbjornsson), who occasionally believes himself to be Hitler. Paul’s condition apparently stabilises under treatment and he’s allowed home – but he’s a long way from being well…
Angels is often fantastic to look at, and even better to listen to - but the impressive cinematography and atmospheric, eclectic soundtrack can’t hide the script’s grindingly over-familiar convolutions. This is a strictly by-the-numbers exploration of mental illness, with a thoroughly predictable structure as Paul rises and falls, rises and falls. Sigurdsson’s central performance is serviceable enough, but, like the project as a whole, firmly within the established parameters of this type of drama. Johannesdottir (as Paul’s mother) and Kormakur, however, contribute relatively restrained, low-key performances that belong in another, better movie.
A movie, for instance, that avoids makes Gudmundsson’s trite points about the artificial division between ‘sane’ and ‘normal’ people, and about the mental health of society as a whole. The cliches accumulate almost as fast as the loose ends: Dagny completely vanishes from the scene early on, and is never referred to again. Rognvald, Paul’s conventionally successful best friend, likewise comes and goes in a distractingly unfocussed manner. His hospital acquaintance Paul (Gudnason) is another underdeveloped character, making it all the odder that so much of the late going revolves around his melodramatic back story.
The film’s highlight comes when Oli takes Paul along as he pays an impromptu visit to the Icelandic president in what’s presumably the official residence – a cosy and small-scale structure, exactly what you’d expect from such a cosy, small-smale country. But even here, Kormakur is let down by Gudmundsson and Fridriksson’s uncertainty of tone – the scene ends with the audience unsure whether we’re watching is fantasy or reality. In more skilled hands, the ambiguity might be productive. Not so here.
By the end, even Fridriksson’s visual daring starts to grate, with a distracting over-reliance on having characters fade away from view while their surroundings remain vivid. Worse, he repeats unpleasant footage of a horse breaking down: a potentially potent, poetic image that ends up feeling opportunistic, cheaply manipulative and arbitrarily distressing – like Angels itself.
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