Rarely is a director given the resources to construct his/her own fantasy world -- but Luc Besson, the acclaimed French director of "La Femme Nikita" and "The Professional," was fortunate to be given the opportunity to wallow in his own fantastic creativity in his most recent film, "The Fifth Element."
In "The Fifth Element," imagination is coupled with the creative power of the latest movie technology to produce a interesting yet jumbled picture. Imagine "Star Wars" crossed with "Blade Runner" mixed with a little LSD-inspired imagery and one could come close to envisioning this film.
The disjointed, cartoonish story-line centers, in simple terms, on the impending fulfillment of a cosmic prophesy which concerns the ascendant rise of evil (in the form of a throbbing, black planet) and efforts by a 23rd century society to stop it.
To avoid this unpleasant result, a reluctant "aircab" driver (Bruce Willis) is recruited to save the universe. He is assisted by a mysterious and genetically perfect woman, played by beautiful Milla Jovovich, who must harness the power of the four elements which happen to be resting in a temple in Egypt.
What lies at the base of "The Fifth Element," though, is incredible escapism. Based on an unfinished book Besson wrote as a 16 year old boy in a French boarding school, the film exhibits how the power of modern technology and a massive movie budget can enable a director to indulge a childhood dream.
Set in a fascinating dream-scape created by a masterful set, superb costume design and the futuristic images of computer technology, "The Fifth Element" is beautiful to behold. Besson's interpretation of the future is crafted in brilliant colors and peopled by strange and outlandish creatures.
Interestingly, Besson's interpretation of the future is strikingly different from the precedents set by most former post-modern films that have portrayed a dark and deteriorated world marked by unchecked anarchy ("Waterworld," "Mad Max") or by fascist, dictatorial governments ("Brazil," "1984").
Much like the incredible setting, the characters present in the film are unusual and colorful personalities.
These eccentric figures include a buck toothed arms-dealer with a limp (Gary Oldman), a manic, effeminate DJ (Chris Tucker) whose high pitched screeching is mostly incomprehensible and a bumbling, paranoid priest (Ian Holm).
The performances of these actors are histrionic and over-the-top. Besson did an excellent job in casting Willis as the calmly imperturbable and laconic hero cabby in order to balance out the picture.
Much like Jean Reno's acclaimed performance in "The Professional," Willis's charisma stems from his character's restraint and composure in the storm of uncontrolled events.
As the female protagonist, Jovovich also comes through with a laudable, strongly physical performance.
Unfortunately, just as the setting and imagery of "The Fifth Element" appears to flow from the fantasy of dream, the film's problems also derive from its dreamlike traits. Besson's indulgence of his creativity molds the film into an uneven and commonly incomprehensible film.
The plot is the most prominent problem of the film and its cartoon absurdity and unfettered meandering are obvious and distracting. The basic premise of the story line is painfully simple to the point where it becomes almost stupid, while the story itself is too undisciplined to make sense.
In addition, Besson frequently includes bizarre, fragmented occurrences which are not adequately explained to the viewer.
Although as a narrative film "The Fifth Element" fails, it does so in style. At a budget of $90 million, "The Fifth Element" is the most expensive film ever made by a French studio, international origins which are clearly visible in the movie.
Noteworthy French undercurrents of the film include poking fun at authority and the glorification of love.
The president of the universe of the future is commonly powerless and confused throughout the film while the police force seems inept and unable to impose order. Similarly, the theme of love appears in the final confrontation with evil where love is depicted as the ultimate power in the universe.
Although not a straight send-up of a genre such as a film like "Mars Attacks!" Besson does maintain an irreverent sense of humor. Willis's frequent smirk in the face of the humorously farcical events of the story is often quite compelling and funny.
In addition, the zany imaginings of costume designer Jean Paul Gaultier and the techno score of composer Eric Serra create a sense of wild contemporary style to the film which is lacking in other big budget American films.
Unlike the current Hollywood trend towards green-lighting formula films with similar themes (such as natural disasters, the presidency or alien invasion), "The Fifth Element's" massive budget is used to produce something unusual and different.
It is this creativity and oddity which ultimately make the picture interesting, despite its rambling.
By providing an effective entrance into his wild imagination, Besson has created a dramatically imperfect yet certainly engaging film.
