Not so long ago film critics used to fall on their knees at the mention of Wim Wenders' name. Just like in many similar cases, Wenders' godlike status among critics was reflected in total ignorance by general public. To some people the only way to bring Wenders' work to masses, especially in America, was through the medium of Hollywood remakes. Ten years after Wenders' celebrated film Wings of Desire Hollywood delivered new version called City of Angels, directed by Brad Silbering.
The film starts in Los Angeles. There, just like anywhere else in the world, angels wander around people, listen to their thoughts and assist the souls of recently departed during their journey to another world. One of those angels is Seth (played by Nicolas Cage) who confesses that he would like to feel like humans do. This desire becomes stronger after encounter with Dr. Maggie Rice (played by Meg Ryan), attractive physician who recently lost a patient. Maggie, unlike other humans, developed the ability to see Seth and talk to him. Seth is overwhelmed by feelings he can't explain, but the answer to his problems come in the form of Maggie's patient Norman Missinger (played by Dennis Franz). Norman used to be an angel like Seth and later found the way to renounce his celestial status, become ordinary human and share all the joys and pains associated with humanity. Seth is now forced with dilemma - whether to sacrifice immortality and supernatural powers for the sake of love.
Less motivated with the desire to bring Wenders' sensibility to the average cinema audience and more in tune with Millennium-inspired trends of born-again spirituality, authors of this film tried very hard not to turn City of Angels in just another Hollywood tear-jerker. Brad Silbering, helped with the talents of his cinematographer John Seale, created probably the most angelic vision of Los Angeles in recent history. The white, clean and majestic town almost glitters thus providing sharp contrast with angels in black overcoats.
Superb imagery, on the other hand, can't compensate for deficiencies of Dana Steven's script and can't hide the formulaic nature of this film. Intriguing premise about angel being fascinated with humanity is reduced to cliched love story with "surprise" ending. Hollywood conventions show itself even in the protagonist's object of affection - perfect human being, who is being played by queen of Hollywood romantic comedies. Meg Ryan tries very hard to show her dramatic skills, but even her most valiant efforts can't hide this film's corniness and predictability. Nicolas Cage is even less convincing in the role of angel. The only memorable role belongs to Dennis Franz whose hedonistic philosophy gives some sort of convincing answer why would anyone throw away celestial immortality for the sake of ordinary human life.
Even bigger problem of this film's is its shallow philosophy. Despite all the attempts to be "spiritual", this film is just another product of smug 1990s Hollywood which saw Clinton's America as the best of all possible worlds. Three years after this film's premiere nineteen men with box cutters showed that spirituality can manifest itself in forms that aren't as warm, simple and fuzzy as presented in this film.
RATING: 4/10 (+)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.films.reviews on June 2nd 2004)
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