The Fifth Element and The Transporter

The title may already suggest this, but I'll tell you anyway. Today I am going further into the works of Luc Besson with his only foray into sci-fi (and first script co-written by Robert Mark Kamen, who will become a long-time collaborator), The Fifth Element, and his more typical, The Transporter, both of which are excellent action films.

Many, and I can see why, are unable to appreciate the outlandish plot in The Fifth Element and it stops their enjoyment of the film, however the plot is irrelevent as the movie propels into a full-on space parody. While it begins with a prologue that would fit easily with any conventional sci-fi, TFE soon shows it's true colours quite literally with a visual assault of a futuristic world which encompasses many facets found in dystopias, but extended to the ridiculous.

More now on the archetype's which Besson creates, which you wil remember includes the strong woman and restrained hero. As far as the strong woman in concerned, the eponymous Leeloo is the saviour of mankind and performs moves that would make Bruce Lee proud. The main focus, however, is on Korben Dallas who is predominantly reserved, but not too the same extent as some of Besson's other heroes. This is due to Bruce Willis' natural charisma shining through and making the character more relatable as a sci-fi saviour. I must make mention of Chris Tucker's only role in which his abnoxious personality is an asset: Ruby Rhod, the hyperactive, sex-crazed radio host.

Next is the transporter which I have included mainly for the titular character played very capably by Jason Statham, and is a symbol of everything Besson's leads stand for: someone less than legal, yet with a strong code of ethics. This is admittedly a much weaker effort than some of Besson's other work, with a reasonably soft plot, but Statham's Frank Martin is the saving grace.

Along with, or possibly because of, Statham the action sequences are astounding in their originality and sheer scale, something which is expected from a Besson film. The bike pedals in oil scene, the bus fight and the car chases are examples of this. There is a lot left to be desired though, particularly the cheesy bad guy with a lack lustre sinister plan, however Francois Berleand's Inspector Tarconi is competent as a side-kick of sorts.

That's all I have for this time, but there will be more soon.

The Best and Worst of Luc Besson

While not a household name, Luc Besson is one of the best action writers in film. To his credit he has movies such as La Femme Nikita, Leon, The Fifth Element, The Transporter and Unleashed. The next few posts are inspired by the release of his latest flick, Taken, and will be part discussion, part criticism and a whole lot of unashamed praise. My first installment will begin with La Femme Nikita and Leon, before progressing to some of his other work soon.

Starting with his breakout film, La Femme Nikita, and the remake, The Assassin, Besson established many of the themes and character traits which would be prevolent in his later work, including strong female characters such as in Joan of Arc, Leon and The Fifth Element. The other themes are quite simple, mainly sticking to revenge, and this consistency of message has held him in good stead. As for character, Nikita (then Maggie) is an assassin, as are many of his leads, in one way or another. However the remarkable thing that echoes through his assassins is their quiet, methodical approach to what they do. What makes the films classic is what he does with these enigmatic characters. With Nikita Besson is able to begin what he masters in Leon, the character is complex and reluctant, having no desire to kill, but unable to stop. She is simultaneously brutal and emotional, yet retaining the viewers sympathy throughout.

Besson's unquestionably iconic, and one of the most perfectly constructed action films in history, is Leon (The Professional outside of France), an all-out actioner with an emotional core in the relationship between titular character (played brilliantly by Jean Reno) and an abused 12 year-old girl, Mathilda (Natalie Portman in her first role). I will control my praise for this film as it is quite simply brilliant, but focus on his emerging tradition of theme and character. While revenge is always Besson's central conceit, it is an ever changing form and an ongoing thesis on the catharthis of the act. Leon is seeking revenge for newly orphaned and homeless Mathilda, and redemption for a life of sin as a "cleaner". How does he get this? By doing what he knows and teaching Mathilda to do the same. It may seem strange but behind it all is a loving and kind man who is starved for affection caring for the closest thing he has to a friend. It is a rare thing to find a character who vocalizes so little, yet says so much, but in Leon this trait serves only to intrigue the viewer into compassion and adoration, all the while racking up a body count in the hundreds.

This could not be complete without a mention of Gary Oldman as the crooked, and homicidal, DEA agent Stansfield. It is by far Oldman's best performance as he manages to inspire the hatred of the audience and a mesmerized awe. Stansfield is ruthless, callous and most frighteningly, above the law. What resonates most is his musings about classical music whilst slaughtering a family and his crazed reaction to amphetamines. His obsessive nature slowly builds to a brutal conclusion and is shown to be the antithesis of Leon's restrained lifestyle.

This is all for now, but next time I will focus on The Fifth Element and The Transporter.

This is Just Kinda Awesome

Frisky Dingo and Digital Communication

While I am well aware that, not only do these two phrases not seem coherent, they may very well not make any sense at all. This aside I assure you it will all become clear.

I will begin with an introduction. Frisky Dingo is an animated television show about a supervillain, Killface, trying to destroy the Earth with the Annihilatrix, but struggling with PR. Calm down, I know it's confusing but there's more. I recently spent a night watching the first series and, other than laughing my ass off, I was drawn to the similarities between this serial and my digital communication class, specifically the web based contribution. Still not getting it I'm sure but just wait.

Much like Killface, I know what I want: a functioning web page. A little more modest I admit but I don't have a spare $20 billion. It is also the little things that have beem hampering my success, such as HTML and layout worries. Just as Killface performs 30-odd takes of his commercial, I re-write or alter everything at least 5 times trying to get it just right. Hopefully I can escape resorting to a post-card.

Now to the enemies. I have HTML, Killface has Awesome-X. They are also quite similar despite one being a billionaire playboy, and the other simply code. While I refer to HTML as an enemy, it is very often a necessary part of any function online, something that is a staple dynamic in the superhero/supervillain relationship, and furthered in Frisky Dingo by Awesome-X assisting Killface under the guise of Barnaby Jones.

Then again if my plans go awry, I may just change tack altogether and run for President on the grounds I stopped Global Warming, but not until season 2.