There are few filmmakers currently at work who can match the volume of content offered by French auteur Luc Besson. The 58 year-old writes, directs and produces cavalcades of titles and has done for many years.
In 2014 alone, he wrote 3 films and 8 television episodes, produced 3 movies as well as directed a feature himself. Since the success of Lucy, Besson is currently putting the finishing touches on Valerian, starring Dane DeHaan and Cara Delevingne, check out some of the madness coming or way here.
In anticipation of this we count down six of the best projects with this multitude of talent’s name stamped upon them.
The Big Blue
Besson’s mother and father were famed deep-sea divers so much of his childhood unfolded in the theatre of dreams that is the ocean. Throughout his career, the director has been attached to many aquatic documentaries and campaigns but his startlingly 1988 narrative feature The Big Blue in which he serves as writer, producer and indeed filmmaker is a breathtaking achievement in landscaping film.
To ask what the movie is about kind of defeats its purpose; this is an experience piece – one rendered with otherworldly beauty and wonder. Essentially the narrative foundations are about the competitive nature between two friends bound by the sea, but Besson layers such a slight plotline with filmic density, artistry and poetry.
His director’s cut which runs for a staggering 168mins is the ultimate version to seek out; it quietly and indeed spectacularly unfolds leaving the spectator breathless and in awe of our natural world’s abilities and influences. The film was a flop at the US box-office – clawing back $80,000 from an $80 million budget – but to have been able to catch this on the silver screen would be a severely exhilarating event.
Nikita
Always one to create and promote strong-willed, independent women (Lucy being a fine example), Besson kick-started his high-octane ladies campaign with Nikita.
Starring Anne Parillaud as the eponymous lead, the film tells of a drug-dependant felon whose savagery lands her fate in the balance. Sparing jail and opting to embark on an alternative protocol, she is trained and sculpted into a high-flying assassin and spy who uses her sexuality and blistering power to bring harsh justice.
The narrative – like many of his works – is ludicrous, but Nikita has such a brilliant sense of surrealism attached that the razor-sharp choreography and relentless brutality screen reverently. The film has been remade in the English language to poor effect and has spawned a highly successful television serial so despite being near 25 years old, the cultural impact of Besson’s picture couldn’t be more prevalent.
Taken
Whilst he didn’t direct the bruising 2008 action thriller Taken, Besson served as the film’s scribe and producer so his mark and flair is splashed all over it.
Despite a truly awful sequel, this was the title that made audiences across the globe consider Liam Neeson as a rugged, bad-ass action hero despite being 56 years old at the time of release. His portrayal of Bryan Mills – a retired CIA agent whose daughter (Maggie Grace) is kidnapped and sold into the sex trade in Paris whilst travelling – is electrically charged and feels truly authentic despite being something of a cliché.
Besson’s dialogue is bitterly tongued; each monologue weighted with tension and dread. The now famous phone call sequence is a hallmark for the Frenchman and is frequently quoted, celebrated and rejoiced world over. Besson is currently (and unfortunately) working on a screenplay for a third film – I guess Bryan loses his iPhone, Parker pen and Michael Kors manbag this time…
Leon
Perhaps Besson’s most celebrated work is the exceptional 1994 crime thriller Leon: The Professional which shot him into Hollywood stardom and founded what would become a remarkable career for Natalie Portman.
Laden with sleek visuals, white-knuckle violence and razor-sharp dialogue, the film tells of a professional assassin (expertly played by Jean Reno) who rescues the neighbour’s daughter from a corrupt police raid which kills the remainder of her family. Mathilda (Portman) soon becomes entranced and compelled by Leon’s peculiar job and lifestyle, so she begins to find means to seek revenge on those who destroyed her unit whilst he attempts to father her and steer her clear from trouble – and most worryingly – death.
Every frame of Besson’s film is coloured with cool; it’s a hyper, smart and intricately plotted saga that features a diverse soundtrack, some exceptional stunt work and a wonderfully over-the-top performance from Gary Oldman. Many films have since tried to imitate or repackage Leon, but you just cannot beat or replace the real thing.
Angel-A
One of the most wildly ignored titles in Besson’s genre-spanning filmography is his 2005 fantasy Angel-A. Beautifully captured in Black and White, the film follows Andre (Jamel Debbouze); a small-time scam artist whose life is in severe jeopardy if he fails to make a payment to a ruthless mobster by midnight.
With no financial options or aid from the American embassy and French police, Andre opts to end his life by jumping from the Seine bridge but his act of suicide is seized by bearing witness and indeed saving a gorgeous woman from a similar fate. Her name is Angel-A (Rie Rasmussen) and together they form a unique and poignant bond.
Soon it becomes apparent that she actually fell from the sky and her purpose for landing here was to meet and fall in love with our hapless hero. This is a tender film from the usually bullet-blasting director – it unfolds with delicacy and divinity – opening emotive and existential doors for the two leads, and in doing so forms a beguiling and enchanting sci-fi romance.
The Family
I know, you’re all thinking “where the hell is The Fifth Element?” and “why on earth is this on the list?” but hear me out.
While many critics slated Besson’s previous 2013 release The Family, much of the negativity was ill-deserved. This is a roaring black comedy that smartly employs location with as much personality and identity as the leading characters, as well as being laced with some sharply crafted set pieces and a wonderfully rustic tone.
Nothing here feels overly flashy or futuristic; something Besson is entirely renowned for, and one believes this is the main reason why so many weren’t enthralled. Here is a nuts-and-bolts action joker which follows the notorious Manzori family – pretty much the local mafia – who are relocated to Normandy under a government witness protection programme.
Going from top dogs to being considerably out of their depth and comfort zone is truly pleasing to watch. Besson applies acidity to his thrashing dialogue and these punchy lines particularly benefit the two children Belle and Warren (Dianna Agron and John D’Leo) who are hilarious in the social sequences as they attempt to fit in with modern French teenage life.
