It’s exciting to see Shyamalan on such confident footing once more, all these years later.
"The Fifth Element,'' which opened the Cannes Film Festival on Thursday, is one of the great goofy movies--a film so preposterous I wasn't surprised to discover it was written by a teenage boy. That boy grew up to become Luc Besson, director of good smaller movies and bizarre big ones, and here he's spent $90 million to create sights so remarkable they really ought to be seen.
That's not to say this is a good movie, exactly. It's more of a jumble that includes greatness. Like "Metropolis" (1926) or "Blade Runner," it offers such extraordinary visions that you put your criticisms on hold and are simply grateful to see them. If Besson had been able to link those sights with a more disciplined story and more ruthless editing, he might have really had something.
The movie begins in "Egypt, 1914,'' that birthplace not only of civilizations but of countless horror and occult films. Inside an ancient tomb, scientists gather at the site of an event that took place (we learn) centuries earlier. Four crucial stones, representing the four elements, had been kept here until a spaceship, looking something like a hairy aerodynamic pineapple, arrived to take them away, one of its alien beings intoning in an electronically lowered voice, "Priest, you have served us well. But war is coming. The stones are not safe on Earth anymore.'' Deep portentous opening omens almost invariably degenerate into action sequences. But "The Fifth Element'' cuts quickly to another extraordinary scene, New York City in the mid-23rd century. The futuristic metropolis, constructed at enormous cost with big, detailed models and effects, is wondrous to behold. It looks like Flash Gordon crossed with those old Popular Mechanics covers about the flying automobiles of the future. Towers climb to the skies, but living conditions are grungy, and most people live in tiny modular cells where all the comforts of home are within arm's reach.
Meanwhile, Earth is threatened by a giant pulsating fiery object that is racing toward the planet at terrific speed. "All we know is, it just keeps getting bigger,'' one scientist reports. Ian Holm plays an astrophysicist who significantly observes, "It is evil--evil begets evil.'' What is this object? What rough aliens are slouching toward Earth in its wake? And how to stop it? Man's hopes may lie with Leeloo (Milla Jovovich), cloned from a single unworldly cell, who comes into existence with flaming red hair already dark at the roots (those cells remember everything). Leeloo is clad in a garment that looks improvised from Ace bandages but gets no complaints from me (the costumes are by French couturier Jean-Paul Gaultier, whose favorite strategy as a designer is to start by covering the strategic places, and then stop).