Thematically, a film clearly consistent of a filmmaker that always looked for the limits of Humanity, for a self-denial that would lead to the sacred as a fulfillment of the human. Formally, the wonderful final shot leads directly to "Pickpocket" or "L'Argent" and all the universal fragments-frames of his work. The "Comédie" of the actresses, however, is a discordant note in a film of "trouvailles".
Except for a few key shots and gestures perhaps only barely "Bressonian," but it's an example of the cinéma de qualité par excellence. Despite the glamor actresses and the slick surface, even though the director himself later expressed his dislike of it, the themes of the later masterpieces are here in germ - purgatory and grace, freedom and imprisonment, crime and punishment. An extremely accomplished debut.
Bresson’s first serious work, Les anges du péché (1943), is all but missing his ascetic film tendencies. While absent is Bresson’s stylized punctuation — elliptical scene cuts, meticulous sound edits, and hauntingly poetic images — the film retains his sensibility. Read More: http://aestheticsofthemind.wordpress.com/2012/05/01/les-anges-du-peche-angels-of-the-street/
I am not one of Bresson's biggest fan... but Angels of Sin ready made me wish I was watching an actual Bresson film. Sure throughout the film you can see glimpses of what the director would become celebrated for, like the amazing final scene, but it's stuck under the conventions of the time, with actors and music that try way too hard to convey emotion. But hey, after that, you really start to appreciate his work.