Angel Angel Down We Go ( 1969 )

Angel, Angel, Down We Go: A Descent into Late 60s Excess

Angel, Angel, Down We Go, released in 1969, is a cinematic artifact of its time, a psychedelic melodrama dripping with the anxieties and obsessions of the late 1960s. Directed by Robert Thom, who also wrote the screenplay, the film stars Jordan Christopher, Jennifer Jones, and Roddy McDowall. It's a story of fame, obsession, sexual exploration, and ultimately, tragic consequences, set against the backdrop of a wealthy, dysfunctional family and the burgeoning rock and roll scene.

The Plot: A Tangled Web of Relationships and Obsessions

The film revolves around Astrid Steele (Jennifer Jones), a wealthy and emotionally unstable woman who is obsessed with preserving the memory of her deceased rock star son, Gabriel. She lives in a sprawling estate with her younger daughter, Tara (Holly Near), and her somewhat detached husband, Marino (Charles Aidman). Astrid's world is disrupted by the arrival of Gabriel's former bandmate and protégé, Angel (Jordan Christopher), a charismatic and androgynous rock star. Astrid sees Angel as a reincarnation of Gabriel and immediately develops an intense, almost possessive, interest in him.

Angel, eager to capitalize on Astrid's fascination, quickly ingratiates himself into the Steele family. He begins a complicated and sexually charged relationship with both Astrid and Tara. The relationships are far from straightforward; there's a palpable sense of manipulation, exploitation, and deep-seated psychological issues at play. Tara, struggling to break free from her mother's suffocating control, finds herself drawn to Angel's rebellious spirit, while Astrid, lost in her grief and fantasies, projects her idealized image of Gabriel onto Angel.

Meanwhile, Santoro (Roddy McDowall), Astrid's confidante and enabler, observes the unfolding drama with a cynical detachment. He's a flamboyant and somewhat predatory figure, aware of the family's dysfunction and seemingly content to profit from it. Santoro acts as a go-between, a manipulator, and a commentator on the absurdity of the situation.

As Angel's presence intensifies, the family's fragile equilibrium crumbles. Astrid's obsession spirals out of control, Tara's rebellion escalates, and Marino's detachment deepens into a silent despair. The film culminates in a shocking and tragic climax, revealing the destructive consequences of unbridled desire, unresolved grief, and the corrosive power of fame.

Themes and Interpretations: A Reflection of the Era

Angel, Angel, Down We Go is rife with thematic elements that reflect the societal shifts and anxieties of the late 1960s. These include:

• The Cult of Celebrity: The film critiques the obsessive nature of celebrity worship and the dangers of blurring the lines between image and reality. Gabriel's posthumous fame and Astrid's subsequent fixation on Angel highlight the destructive potential of idolizing individuals.
• Sexual Revolution and Changing Morality: The film explores the shifting attitudes towards sexuality and the breakdown of traditional moral codes. The open exploration of bisexuality and the characters' fluid relationships reflect the era's experimentation with new forms of intimacy.
• Generational Conflict: The strained relationship between Astrid and Tara represents the generational divide of the 1960s, with the older generation clinging to traditional values while the younger generation embraces rebellion and self-expression.
• Mental Instability and Grief: Astrid's mental state, fueled by grief and unresolved trauma, is a central element of the narrative. The film explores the devastating effects of mental illness and the challenges of coping with loss.
• Exploitation and Manipulation: The relationships in the film are characterized by power dynamics and manipulative behavior. Angel exploits Astrid's obsession, Santoro profits from the family's dysfunction, and Astrid exerts control over Tara.

The film can be interpreted as a cautionary tale about the dangers of unchecked ambition, the pitfalls of fame, and the destructive consequences of unresolved trauma. It's also a commentary on the superficiality of wealth and the emptiness that can lie beneath the facade of a privileged lifestyle.

The Cast: A Mixed Bag of Performances

The performances in Angel, Angel, Down We Go are somewhat uneven. Jennifer Jones delivers a suitably unhinged portrayal of Astrid, capturing her character's fragility, obsession, and descent into madness. Jordan Christopher, in his film debut, brings a certain charisma and androgynous appeal to the role of Angel, though his acting is sometimes wooden. Roddy McDowall shines as Santoro, injecting the film with a dose of cynical wit and flamboyant energy. Holly Near, as Tara, provides a grounded and relatable performance, portraying the character's struggle for independence with sincerity.

Production and Style: A Visual Time Capsule

Angel, Angel, Down We Go is visually striking, capturing the psychedelic aesthetic of the late 1960s. The film features vibrant colors, unconventional camerawork, and dreamlike sequences that reflect the characters' altered states of consciousness. The soundtrack, featuring original songs by Jordan Christopher and The Wild Things, further enhances the film's atmosphere. The opulent sets and costumes contribute to the overall sense of excess and decadence.

The film's production was reportedly plagued by problems, including conflicts between the director and the studio, and the sudden death of Jennifer Jones' husband, producer David O. Selznick, during filming. These challenges may have contributed to the film's unevenness and its ultimate box office failure.

Reception and Legacy: A Cult Classic of Camp

Angel, Angel, Down We Go was not well-received by critics or audiences upon its release. It was criticized for its convoluted plot, its uneven performances, and its excessive melodrama. However, over time, the film has gained a cult following, particularly among fans of camp cinema. Its over-the-top performances, its bizarre plot twists, and its visually striking style have made it a guilty pleasure for many.

The film's influence can be seen in other works that explore similar themes of celebrity obsession, sexual experimentation, and psychological breakdown. It remains a fascinating and often unsettling snapshot of a tumultuous era in American history.

Analyzing Key Scenes: Deconstructing the Melodrama

Several scenes stand out in Angel, Angel, Down We Go as particularly illustrative of its themes and style. Let's examine a few:

• Astrid's Initial Encounter with Angel: This scene establishes Astrid's immediate and intense fascination with Angel. The camera lingers on her face, capturing her wide-eyed gaze and almost trance-like state. The dialogue is deliberately stilted, highlighting the artificiality of their connection and Astrid's projection of her idealized image onto Angel. The lighting is soft and dreamlike, further emphasizing the unreality of the moment.
• The Pool Scene: This scene is a prime example of the film's exploration of sexual ambiguity and the breakdown of traditional boundaries. Astrid, Tara, and Angel are all present, their interactions charged with unspoken desires and hidden agendas. The scene is visually striking, with the shimmering water reflecting the characters' distorted emotions. The dialogue is suggestive and ambiguous, leaving the true nature of their relationships open to interpretation.
• Santoro's Monologues: Roddy McDowall's Santoro delivers several monologues directly to the camera, offering cynical commentary on the events unfolding. These monologues provide a meta-narrative perspective, highlighting the absurdity and artificiality of the characters' lives. McDowall's performance is both comedic and unsettling, underscoring the film's dark humor.
• The Climax: The film's climax is a chaotic and melodramatic culmination of the characters' pent-up emotions and unresolved conflicts. The violence is sudden and shocking, reflecting the destructive consequences of their obsessions and manipulations. The scene is visually jarring, with rapid editing and disorienting camerawork contributing to the overall sense of chaos.

Detailed Character Analysis: Beyond the Surface

To fully understand the film's complexities, a closer look at the motivations and psychological states of the key characters is essential.

Conclusion: A Flawed Gem of Late 60s Cinema

Angel, Angel, Down We Go is undoubtedly a flawed film. Its plot is convoluted, its pacing is uneven, and its performances are sometimes over-the-top. However, it's also a fascinating and often unsettling snapshot of the late 1960s, capturing the era's anxieties, obsessions, and shifting social mores. Its themes of celebrity worship, sexual experimentation, and psychological breakdown resonate even today. While it may not be a masterpiece, Angel, Angel, Down We Go is a cult classic that deserves to be seen for its unique style, its daring exploration of taboo subjects, and its undeniably campy charm. It's a cinematic time capsule that offers a glimpse into a turbulent and transformative period in American history.