Lubitsch is running a grand experiment in ANGEL, one that, frankly, doesn't succeed. In trying to make the build-up to the coming war refract within a love triangle, ANGEL wants to find a visual political eroticism, a way to build on Lubitsch's expertise in subtlety to imply a solution to a problem that couldn't be solved directly. That he couldn't pull it off is testament only to the ambitions at hand, for the film itself is one of his most heart-rending and powerful.
Kian Bergstrom
May 2, 2014