Haute couture receives so much attention you'd think the fifth element was style instead of the life force (love, God or whatever the heck it is). In many respects, the film is less a space opera than a clothes encounter of the third kind: Monks in yarmulkes reminiscent of cow pies, flight attendants in naughty knockoffs of prim Jackie-O suits, and most notably, the heroine's babyish, Band-Aid bodysuit.
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"The Fifth Element" offers a store full of pyrotechnics, and it should, with a $90 millon price tag, much of which seems to have gone for the risque threads designed by Jean-Paul Gaultier. will appeal to genre aficionados, and its cornea-warping effects will delight summer audiences in the market for eye candy. Still, its spoofy references from "Blade Runner," "Dune," "StarGate," "2001: A Space Odyssey" et al.
The script, begun when Besson was a 16-year-old, is neither visionary nor thought-provoking and would be deep only in comparison with an omelet pan. The script, written by Besson and Robert Mark Kamen, is an entertaining tangle of pop aesthetic and comic book myth that occasionally bogs down, but manages to be ingratiating for all its defects. It's overwrought, cheesy sci-fi, but the cheese is brie.īesson's second foray into epic science fiction - his first was 1982's gloomy "Le Dernier Combat" - centers on a pre-apocalyptic, planet-imperiling battle in the 23rd century. "The Fifth Element," directed by "La Femme Nikita's" Luc Besson, manages to be true to both schools. The French may have invented the futuristic action adventure picture with 1902's "Trip to the Moon," but it was the Americans who transformed the B-movie genre into an overpriced popcorn art form.
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