The homely daughter of a rich, vain woman gets mixed up with a kinky, menacing pop singer and his weird friends.The homely daughter of a rich, vain woman gets mixed up with a kinky, menacing pop singer and his weird friends.The homely daughter of a rich, vain woman gets mixed up with a kinky, menacing pop singer and his weird friends.
Lester Fletcher
- Sydney Guilaroff
- (uncredited)
Kathryn Janssen
- Party Guest
- (uncredited)
Jeff Lawrence
- Minor Role
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaJeanne Crain turned down the role of Astrid Steele.
- Quotes
Astrid Steele: I made thirty stag films and never faked an orgasm.
- ConnectionsFeatured in Grindhouse Horrors (1992)
Featured review
This will still be making people gasp after Gone With the Wind is forgotten.
Of all the films I know from the period, by no means all of them, Angel, Angel Down We Go is surpassed in the annals of 60's camp only be Joseph Losey's Boom! and Modesty Blaise ( I have high hopes for The Angry Breed. ) Robert Thom's visual style is occasionally inspired but no match for Losey's tailgunning assaults on the retina. But he compensates with his words -- he is the Shakespeare of AIP. "Fat girls are the remembrance of things past." Can we not admit, in the age of the skeleton girls and bobbleheads, that this is at least as prophetic as the words of Elijah?
Casual viewers may mistake this kind of movie as the work of indulgent, drugged-out weirdos but, sad to say, the real Hollywood reptilians make stuff like Love Story and Mission: Impossible III. Let's not forget that Bob Crane once starred in Disney films. It pains me to disappoint connoisseurs of what was once called trash, but there is always a moral component to the most outrageous camp classic. Beauty is truth and truth beauty. Valley of the Dolls ends with a parody of Ingrid Bergman in Stromboli, where Neely O'Hara is reduced to nothing and screaming for God, until she rebels and begins howling her own name! Showgirls of course is devoted to the most microscopic investigation of modern man's nostalgie de la boue. The remake of The Stepford Wives outdoes Von Trier by telling of women who perpetuate their own slavery by creating robot husbands to keep them in an idle luxury they never really wanted to give up. Almost every film by Takashi Miike is an illustration of my theory -- mocking the people who believe in a sort of "extreme cinema" divorced from spiritual context.
Likewise, Thom tells it like it is -- the world he sees is a slaughterhouse draped in the latest fashions. But he is also on an apostolic mission. Out of this muck, one soul is restored to its original innocence: Jennifer Jones. Those who know anything about her tortured history will understand that this film is less a paycheck for her than a bizarre form of penance. This is a woman who, after leaving Robert Walker for David Selznick, and becoming Hollywood's most classic example of bartering her soul for fame, seems to have been a walking magnet for extreme wealth, almost as if she were being taunted. Can you imagine what it meant for her, in a fictional context at least, to trade in all her jewelry for cotton candy? Which she throws away without eating? This scene proves to the cosmos that her heart was always shielded from the lie of existence.
And you can't fail to notice that this aging star, who has always attracted mystical projects, looks about nine years old in her orange jumpsuit, shortly before leaping to her death -- this scene would be the last of her career. Now you know who the angel of the title is. If you still want to see something sick and "extreme" with the same actress, leave Angel, Angel on the shelf -- for I fear it is actually boring and saintly -- and check out Selznick's wartime propaganda film Since You Went Away. There the resourceful Selznick actually cast Jones opposite Walker and made them reenact their youthful love affair under his merry, twinkling eye.
Casual viewers may mistake this kind of movie as the work of indulgent, drugged-out weirdos but, sad to say, the real Hollywood reptilians make stuff like Love Story and Mission: Impossible III. Let's not forget that Bob Crane once starred in Disney films. It pains me to disappoint connoisseurs of what was once called trash, but there is always a moral component to the most outrageous camp classic. Beauty is truth and truth beauty. Valley of the Dolls ends with a parody of Ingrid Bergman in Stromboli, where Neely O'Hara is reduced to nothing and screaming for God, until she rebels and begins howling her own name! Showgirls of course is devoted to the most microscopic investigation of modern man's nostalgie de la boue. The remake of The Stepford Wives outdoes Von Trier by telling of women who perpetuate their own slavery by creating robot husbands to keep them in an idle luxury they never really wanted to give up. Almost every film by Takashi Miike is an illustration of my theory -- mocking the people who believe in a sort of "extreme cinema" divorced from spiritual context.
Likewise, Thom tells it like it is -- the world he sees is a slaughterhouse draped in the latest fashions. But he is also on an apostolic mission. Out of this muck, one soul is restored to its original innocence: Jennifer Jones. Those who know anything about her tortured history will understand that this film is less a paycheck for her than a bizarre form of penance. This is a woman who, after leaving Robert Walker for David Selznick, and becoming Hollywood's most classic example of bartering her soul for fame, seems to have been a walking magnet for extreme wealth, almost as if she were being taunted. Can you imagine what it meant for her, in a fictional context at least, to trade in all her jewelry for cotton candy? Which she throws away without eating? This scene proves to the cosmos that her heart was always shielded from the lie of existence.
And you can't fail to notice that this aging star, who has always attracted mystical projects, looks about nine years old in her orange jumpsuit, shortly before leaping to her death -- this scene would be the last of her career. Now you know who the angel of the title is. If you still want to see something sick and "extreme" with the same actress, leave Angel, Angel on the shelf -- for I fear it is actually boring and saintly -- and check out Selznick's wartime propaganda film Since You Went Away. There the resourceful Selznick actually cast Jones opposite Walker and made them reenact their youthful love affair under his merry, twinkling eye.
helpful•1410
- Delly
- Feb 10, 2006
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- Release date
- Country of origin
- Language
- Also known as
- Cult of the Damned
- Filming locations
- Ocean Front Walk and Moss Avenue, Santa Monica, California, USA(Astrid buys cotton candy)
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $2,000,000 (estimated)
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By what name was Angel, Angel, Down We Go (1969) officially released in India in English?
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