# Fifth Element, The (1997)

### reviewed by
Michael Turton

_The Fifth Element_ Directed by Luc Besson. Starring Bruce Willis, Gary Oldman and Mila Jovovich. Reviewed by Michael Turton. Three Stars.

_The Fifth Element_ is a sci-fi spectacular combining action, epic and low humor to create a rich but ultimately flawed tapestry of the future. It is a perfect example of the tremendous potential of science fiction, especially given modern technology, and the continuing inability of mainstream film directors to grasp this potential.

TFE tells the story of 300 years in the future, when an unlimited evil awakens and threatens the universe. A perfect being, the fifth element, is necessary to combine with earth, air, fire and water to construct a weapon against this evil. After a brief and unnecessary prologue, the story opens with the discovery of the evil being. Although we are not shown it, it has already contacted a powerful man named Zorg (Oldman) who is attempting through his agents to acquire the four stones which represent earth, air, fire and water and without which the weapon cannot be made. An alien ship presumably carrying the stones enters earth space and is destroyed by other alien mercenaries in the pay of Zorg. Only Lilu (Jovovich), the perfect being, survives. Reconstituted at Federation HQ, she escapes and meets Corbin Dallas (Willis). Together the two retrieve the stones and save the world.

The most basic question I have about TFE is "why?" With so many awesome stories, an entire century of science fiction for the most part still untold on the big screen, why would anyone waste their time and money cobbling together a second-rate heap of cliches into an epic space opera story? Underneath the beautiful sets, striking costumes, vast scope, frenetic pace and first-rate directing is a story that was not exactly begging to be told, for TFE has all the faults of mainstream handling of science fiction: there is no character development, aliens exist only to carry out the destruction/salvation of the world, the social order of earth is pretty much the same as the one we know now, all aliens are bilaterally-symmetrical bipeds, the science and technology are completely inconsistent or impossible , and action is more important than idea. Compare TFE to any sci-fi work similar in scope and topic, such as Vernor Vinge's awesome epic _A Fire Upon the Deep_ or the recently completed _Babylon 5_ TV series, and TFE comes off badly.

It cannot be argued that TFE is somehow "not sci-fi." Through numerous nods to other famous sci-fi flicks, Besson attempted to place TFE squarely in the sci-fi universe. For example, Dallas eats at an asian noodle place just before he gets the news of his mission, just as Deckard did in _Blade Runner_. The sequence of shots of the space liner entering Phloston Paradise mimics the famous scenes of the Pan Am clipper entering the space station in _2001_. Leia Organa from Star Wars is neatly skewered in the "cinnamon buns" hairdo of the battleaxe who was originally intended to go with Corbin Dallas on his mission to save the universe. The veteran sci-fi fan will notice others as well, with _Blade Runner_ the predominant source.

As a movie, TFE is a mixed bag. The directing is flawless and the pace furious. But there is entirely too much sly, self-conscious humor which all too often disengages the viewer from his or her attempt to believe in the movie's premise that the universe is desperately in need of saving. An entire character, Ruby Rod (Chris Tucker), was added only supply comic relief. Besson did not learn the lesson that George Lucas taught, namely: that in addition to being fast and furious, epics must be completely innocent and deadly serious. Besson also forgot that the gods require a sacrifice: the universe can be redeemed only through the death of the hero.

On the other hand, the costumes, sets and backgrounds are excellent. The editing is wonderful and the interposition of three or more separate pieces of action in a single sequence, done in several places, is extremely effective. Willis doeshis usual workmanlike job, but sometimes gives the impression that he is condescending to appear in this role. Gary Oldman as the baddie Zorg is (as always) great -- no other actor combines wussiness with intensity the way he does.

Ultimately, TFE must be regarded as a failure, albeit an entertaining one. Next time, I hope Besson decides to tackle a story more worthy of his powerful talent, such as _The Stars My Destination_ or Niven and Pournelle's _Inferno_, rather than serve up stale childhood fantasies dressed in the science fiction equivalent of Sunday clothes. Until then, TFE will remain a good rental choice. I give it *** out of *****.

    Michael A. Turton
    turton@cc.fy.edu.tw

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