Movie Monday: Film Recommendations By Our Contributors
The Fifth Element is one of those enigmatic films that has stuck with me throughout my life. It’s a science fiction feature that doesn’t take itself too seriously as it explores a save-the-world narrative.
Set in the 23rd century, Korben Dallas (Bruce Willis) becomes the unwitting protagonist as he must assist Leeloo (Milla Jovovich), a divine alien being, to reunite the fifth element with the other elemental stones and save the universe from Zorg (Gary Oldman). The mysterious fifth element conducts the power of the other stones in order to emit angelic energy to destroy The Great Evil before it arrives to decimate Earth.
Opener of the Cannes Film Festival 1997, The Fifth Element is a culmination of startling eccentricity and mythical lore. Through this story, it challenges the stereotypes of its genre, steering away from sterile spaceship corridors and uniformed, stoic members of sci-fi communities.
Dallas and Leeloo form our dynamic duo. When thinking of Willis, films such as the action-packed Die Hard franchise tend to spring to mind whereas more demure roles like Dr. Malcolm Crowes in The Sixth Sense often take a back seat. His portrayal of Dallas is the perfect synchronicity of butt-kicking hero and sensitive, handsome protector. Leeloo, in comparison, could be described as a hot mess, rapidly switching between stark vulnerability and a seraphic confidence used to battle the forces of evil. The romance that blooms between the two is palpable from the beginning, becoming more than just a raw desire. They develop a genuine ‘soulmate’ connection shown through the actors’ work. The Fifth Element is considered to be Jovovich’s breakthrough into acting and ultimately her stepping stone into the sci-fi genre, going on to secure a lead role in Resident Evil. Willis’ performance meanwhile is clearly born from experienced professionalism, knowing what cues and mannerisms to emphasise to strike the right emotional response from the audience.
The Fifth Element is a film that uses humour to set itself apart from the likes of the Star Wars and Star Trek films. Humour just doesn’t traditionally fit inside traditional sci-fi narratives. Too often any attempt to do so is stale, or rather glossed over as not to take away from the narrative itself. Not so with The Fifth Element. From the lavish settings and dark humour to the childish tantrums of Zorg, it’s clear the audience is meant to find comic relief from The Fifth Element. However, this comedy is tastefully executed with regards to Leeloo’s emotional state. It tends to dissipate whenever she is scared or vulnerable, which is why the story can still be taken seriously.
With this in mind, we turn to the film’s aims. Clearly, aside from being a work of passion, its themes remain relevant even a quarter of a century since its release. Leeloo can only save mankind from the Ultimate Evil with the other four elements (earth, water, air and fire). Without them, her role is largely useless. The film allows the audience to question our ever increasing reliance on technology and how a return to nature could literally save the world, a timely consideration especially now with the climate crisis having become such a hot topic.
The Fifth Element however does contradict itself here, as it also explores consumerism and the powerful need to be loved in a cruel world. Leeloo seeks validation from Dallas, which completely goes against her divine status. She ascends him, but somehow still needs to be loved by him. I suppose from a particularly reductionist point of view this could be seen as a redundant use of screen time. Why would a perfect alien being need to be anything other than pleasing to the eye and a useful plot device in motivating the butt-kicking Dallas? Emotions—who needs them? Obviously, upending expectations of character depth and behaviour is part of the film’s charm. It breaks stereotypes many times in its 127 minute runtime.
This film is definitely the marmite of the science fiction genre. Critics and fans alike either love it or loathe it. Personally, I feel this film is a work of dysfunctional art. One of my favourite characters is Ruby Rhod (Chris Tucker), an outlandish talk show host who becomes entangled in the story as Dallas and Leeloo board a cruise to try and find the elemental stones. He is loud, overtly sexual and could definitely be described as obnoxious. Ultimately he’s a pretty useless character, seemingly used for nothing other than comic relief. The definition of a drama queen, as soon as the evil is destroyed he gets bored and just leaves the temple. Rhod possibly embodies humanity’s short attention span, especially as his character is a talk show host presumably reporting on gossip and news. Such a reflection is as relevant today as it was in 1997, in a time when social media provides arguably the ultimate drain on attentiveness.
Mise en scene is absolutely paramount in this film, as demonstrated by the above shot. Leeloo is escaping the government building, spurred by the memories of her past life. The majority of the scene is framed by the corrugated iron tunnel, meaning the only light is surrounding the character at the end. As spectators, we are instantly drawn to the light at the end of the tunnel, and to the lithe figure peering back anxiously. The cityscape in the background looks disorientating and foggy, echoing the uncertainty plastered on Leeloo’s face. Her outfit is scant but structured; covering her modesty but leaving her largely exposed, which again speaks of a vulnerability. Every part of this shot has been crafted by Besson to make Leeloo look small as she makes a very literal leap of faith into 23rd century Earth.
Overall, The Fifth Element is iconic. It seems to me that it was before its time, which may be why it received mixed reviews from critics and moviegoers alike upon initial screenings. The onscreen chemistry between Willis and Jovovich is palpable and they bring the story to life in a unique way. The mise en scene alone would make any film buff weep with joy. Luc Besson’s teenage fever dream has matured into one hell of a sci-fi classic.
Words by Phoebe Coombes
Support The Indiependent
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.