Angel on My Shoulder
1946

Angel on My Shoulder


ANGEL ON MY SHOULDER

1946

Paul Muni
Claude Rains
Anne Baxter
A peculiar “deal” film again. How so?

Social Issues

Films have often looked at social issues raising the paradox of people saying “It is only a movie” (Don’t believe it) and “We should believe movies”. Consider “War of the Worlds” panicking America.

A number of socially responsible films (social criticism) have occurred over the years. Paul Muni was in, for example I Was a Fugitive from a Chain Gang which leveled accusations of brutality against the Southern chain gang system and brought about change.

Paul Muni himself was an remarkable actor who had been involved in a number of biopics about people who were socially significant:

The Life of Emil Zola 1937 (Émile Zola (2 April 1840 – 29 September 1902) was an influential French novelist, the most important example of the literary school of naturalism, and a major figure in the political liberalization of France.)

A Song to Remember 1945 (Frederick Chopin) He doesn’t play Chopin

Juarez 1939 (Benito Juarez) Benito Pablo Juárez García (March 21, 1806 – July 18, 1872) was a Zapotec Amerindian who served two terms (1861–1863 and 1867–1872) as President of Mexico. For his resistance to the French occupation and his efforts to modernize the country, Juárez is often regarded as Mexico's greatest and most beloved leader. He is the only full-blooded Native American to serve as President of Mexico.

We Are Not Alone 1939 “we are not alone in suffering social injustice.)

Learned vs. innate as regards the nature of crime.

Where does the criminal element come from? Is it society-caused or from a failure in the person’s will power (like alcoholism).

Social determinism vs. free will.

There is a strong tendency to put everything bad about people into the socially caused area except “greed” and a few others. Capitalism is at fault, but capitalist are evil people they are not socially determined. Peculiarity is that if the speaker suffers from something it is societal – if not is it nastiness.

Same problem historically. Countries motivated by some historical force, but US not. A kind of peculiar racism here. Only certain people and countries are able to surmount socially and historical causation.

What is Hell like in this film. We have begun to look at the depiction of Hell in a few films: I’Inferno, Crazy as Hell

After The Film

Watch framing: in car Film has all the elements of entrapment like noir.

HELL
Visuals
Lighting:
Low lights (almost source) throw shadows up on face. Occasionally this occurs with Devil outside of hell. Stands near lamp so shadows go up on face.
Fire light

Set:
Smoke
Chains (like old dungeon or prison). Is “hell prison for sinners? Compare with existential hells
Furnace room
Elevator to surface (shows hell is underground).

Clothing:
Guards: bare chested, leather straps somewhat S&M looking? (Why do souls feel heat, have physical form with clothes etc. At the same time the “souls” are not visible to humans with bodies and walk through doors etc.,)
Text supplies things not visual – smell of sulpher

OUTSIDE OF HELL

Entrapment. Frames in frames, Shadows of bars (behind open door at prison
Venetian blinds in rooms.
DEVIL

Entrance through fire
Appearance: no horns, tail, not scary. Sophisticated (Kagel doesn’t like his use of big words. Able to be smarmy sycophant

Text: References to God as adversary or opponent – actually words for the Devil
Devil is cold
Dislikes heights because it gets him closer to God.
Comments about labor shortages

Puns: What in my domain is that? (What in hell is that)

Reaction to religious personnel.

Talk at hall is turning point: Begins to see the other people as enemies.

Devil is on the wrong side (against him).

Kids – innocents. They begin transformation after talk

Woman also some salvation. She is not Rosie!

Is the criminal element from social problems of listening to the Devil whispering in your ear?