Writer Bernard Malamud's short story is clear enough in its intentions, making Alexander Levine a Christ-like ghost trying to atone for his sins, but in ways that can't possibly succeed. He can't produce a flashy miracle for the doubting Morris, and neither will his fed-up girlfriend respond to his pleas. She wants a commitment of marriage from him, and Alexander is convinced that he's dead.

We understand Levine's connection to Sally, but as much as The Angel Levine creates a warm connection between Jewish Morris and Black Alexander, the reason for it eludes us. It's a nice thing that the show stays reasonably ambiguous about the angel business. Fanny does seem to perk up in response to Alexander's presence, but there's nothing else we can nail down about Levine that's convincingly angelic.

Alexander's frantic mission is a hopeless one. He's an angel at the end of his wits, with no tricks up his sleeve. In his frustration, he manhandles Morris, and even slaps Sally. The two men connect for a meal in the dead of night, but soon resume their arguing.

(spoiler) The ending resolves little except for Morris' attitude. In the cold light of day, Levine is gone and Fanny once again worse for wear. Morris didn't believe in Alexander when he was there, but his absence reveals an emotional sense of loss. Morris goes to Harlem, searching for the man but finding nothing but a neighborhood synagogue with a black rabbi. The show ends on an interesting, but somewhat unsatisfactory note, with Morris literally grasping at a fluttering feather, that might be all that's left of the angel Levine. Malamud wrote The Fixer, a strong investigation of the nature of faith, but Morris's crisis of faith, if that's what this is about, doesn't make much sense to me. Perhaps a reader with more insight into the story & Malamud can enlighten us.

Zero is delightful, but only for his faithful fans, and Belafonte's semi-whimsical character won't work for audiences expecting either a sweet Poitier clone, or a representative of the new Black Pride. Ida Kaminska looks much younger than the old lady in The Shop on Main Street, for which she won an Oscar nomination. Milo O'Shea's concerned doctor rounds out the Mishkin social circle, and a pouty, no-nonsense Gloria Foster is excellent as Sally, willing to give her man the benefit of the doubt, but too tired to do it without a real commitment from him. Husband and wife Eli Wallach and Anne Jackson contribute very brief parts; you have to look fast to see Wallach.

Screenwriter Bill Gunn proved his mettle as a film artist 3 years later by writing, directing, and acting in the unique black vampire film, Ganja and Hess, that's very highly thought-of in genre circles.

The package art of MGM's DVD of The Angel Levine shows big laughing faces of Belafonte and Mostel, and will probably disappoint a new generation of people expecting to see broad comedy. The disc is terrific-looking, with both an enhanced and a flat version of the film (why this one? ...???). The mono audio track is as clear as a bell; you can bet the elements for this one have rested undisturbed for 30 years.

The misleading cover art can be forgiven - it would be tough to figure a better way to sell this title. But the billing block on the package-back credits director Ján Kadár as 'Jank Adar'. A typo is a typo, but screwing up the name of a famous movie director ... come on. Both Ján Kadár and Kaminska go unmentioned in the liner notes.

On a scale of Excellent, Good, Fair, and Poor, The Angel Levine rates:
Movie: Good -
Video: Excellent
Sound: Excellent
Supplements: Trailer
Packaging: Keep case
Reviewed: November 2, 2002