The bass version of a recorder is also bent - this seems to be a thing about bass instruments, and I wouldn’t be entirely sure that what works for a bass instrument would be scalable to a soprano one.
If you accept that the angle of the flute is influenced by the needs of the embouchure, the next question that occurs is ‘why have an embouchure rather than a plain whistle end?’ I think the answer is ‘it’s more versatile’. I know you can change pitch with the same fingering on a flute by blowing differently - I don’t think you can do so in a controllable way on a recorder. You can make it ‘squeak’ if you’re a bad recorder player, but I’ve never heard a recorder player set out to play a high octave that way - the instrument is restricted to the octave it happens to be tuned for.
I note also, that all the wind instruments in a standard orchestra have some sort of complexity to how they’re blown - reeds, or trumpet mouthpieces or whatever. I think the very simplicity of the recorder gives it a reputation problem - it’s so simple even six-year-olds can play it, so most people’s experience of the instrument is the sound of a class of second graders shrieking away on crappy plastic instruments with ‘three blind mice’. To become a ‘serious’ instrument needs some complication - the evolution to transverse flute with embouchure and keys seems to be how the medieval recorder managed that.
(Not that I 'm arguing that a recorder can’t be a ‘serious’ instrument - a full set of soprano to bass recorders can produce some very nice music indeed. But not many serious musicians are really working with the instrument)