Twenty years ago, Luc Besson’s visually stunning film hinged its story not on action or violence, but on love.
The most radical element of Luc Besson’s 1997 space opera The Fifth Element is not the absurdly opulent future-costumes designed by Jean Paul Gaultier. It isn’t the bizarre Southern twang of the Hitler haircut-sporting villain Zorg (Gary Oldman), nor is it Chris Tucker’s performance as an intergalactic sex symbol who hosts a radio show. It’s that Bruce Willis cries at the opera. In budget, in scale, and in casting, The Fifth Element feels like any other big Hollywood sci-fi movie, featuring popular English-speaking actors running around a high-concept world, complete with lavish sets and CGI effects. But not many blockbusters would let its male star weep at a musical performance.
That set piece comes in the middle of the film as Willis’s character, Korben Dallas, a gun-wielding space cowboy with spiked, peroxide-blonde hair, takes in a show by the blue alien singer Diva Plavalaguna (Maïwenn). Besson’s film has, up until now, been a relentless blitz of action, as Korben follows the mysterious Leeloo (Milla Jovovich) across the galaxy to help retrieve mystical stones that will help her save the world from a great, encroaching evil. But for a second, the movie grinds to a halt, letting Korben take in the extraterrestrial songstress’s solo with tears in his eyes.