liberating the world from the Twilight Zone

with the allegorical film art

of Luc Besson


by Gary W. Wright



        Like most film artists who were established or emerging in the early Eighties, Luc Besson was as shocked and outraged as audiences by the helicopter crash around 2:20 am in the early morning of July 23, 1982 that killed actor/director/writer Vic Morrow and child extras Renee Chen and Myca Le on the George Folsey produced John Landis set of the Frank Marshall executive produced and Kathleen Kennedy associate produced allegorical Landis, Joe Dante, George Miller and Steven Spielberg telefilm, TWILIGHT ZONE: THE MOVIE (1983).  Unlike most film artists, Besson also understood that the TZ disaster was so traumatic that it had ended the New Hollywood era and started a whole new twilit era of film art that was enhanced by computer graphic imagery (CGI) so as to pull off dangerous effects sequences digitally and prevent future film set fatalities.  Indeed, an implicit that a twilit new era of film art had begun was seen and heard throughout his first twilit, ironically entitled, CGI free and allegorical indie docufeature film, LE DERNIER COMBAT (1983). 


For Besson set his first allegorical Zone War salvo in a twilit black and white post-apocalyptic world midway between daylight and darkness that reminded us that the original Twilight Zone telefilm series appeared in black and white on television and that film art was now trapped in a post-TZ disaster apocalypse world.  Indeed, the bleak, black and white, ruined and stripped to the basics post-apocalyptic world encountered in LE DERNIER COMBAT-a world noticeably lacking in the big budgets and splashy special/visual effects that young viewers had become used to since the arrival of the allegorical, CGI enhanced, Ozian themed and implicitly Spielberg roasting Lucas film, STAR WARS EPISODE IV: A NEW HOPE (1977), but had turned their back on after the TZ disaster-perfectly summed up the angry and despondent atmosphere of the post-TZ disaster film world.  The fact that the few male survivors of this implicitly post-TZ apocalypse world were not only mute, as if rendered speechless by the trauma of the TZ disaster and struggling to find their voice in this unexpectedly twilit new era of film art, but also mostly implicitly linked to Anglophone film artists and battling furiously and unsympathetically amongst themselves also correctly affirmed that begun had the dread allegorical Zone Wars.  Significantly, the film focussed on one of these mute, embattled and unnamed men, a short, wiry, wily, bearded and art and women loving fellow who resembled and was implicitly linked to George Lucas-played by Pierre Jolivet, who also co-wrote the film. 


Indeed, his implicit link to Lucas was affirmed by the fact that soon after we met him in his lonely and dusty post-apocalyptic bachelor pad in an abandoned and derelict building, he trudged across a desertscape that evoked the desert planet of Tatooine in STAR WARS EPISODE IV: A NEW HOPE.  Coming across a desert gang-some of whom resembled established film artists such as Spielberg (played by Maurice Lamy), Ron Howard, Stanley Kubrick and Roger Vadim-led by a dour and Sir Ridley Scott resembling and implicitly linked boss-played by Fritz Wepper-living amongst a pile of car wrecks, the mute and cunning tactician stole a battery from one of the wrecks with a license plate with the fateful Skyrocking number of ‘77’ to reaffirm his implicit link to Lucas.  Fleeing with the battery with the gang in hot pursuit, the Skyrocker managed to hook it up to his home-made plane engine and fly out of his apartment just in time to escape the fury of the pursuing gang members.


The mute Skyrocker soon landed in the ruins of a derelict city when either the stolen battery or the gas ran out for his plane.  Here he joined a kindly old doctor who loved art and women as much as him-played by Jean Bouise-and his rare and equally mute younger woman-played by Petri Muller-at the fittingly named Clinique Chirurgicale Marceau in a desperate battle to fend off a huge and violent ‘Black Knight’-played by Jean Reno-whose size evoked Darth Vader-played by David Prowse- in STAR WARS EPSIODE IV: A NEW HOPE, but who had the beard, features and glasses of Landis, an implicit link to Landis affirmed by the fact that the ‘Black Knight’ appeared in scenes that alluded to the Landis episode of TWILIGHT ZONE: THE MOVIE and the beginning of the allegorical Landis film, THE BLUES BROTHERS (1980). 


Alas for the new twilit trio, the ‘Black Knight’ managed to kill the doctor and the woman.  However, he was killed in turn by the Skyrocker, in the end, implying the hope of Besson that Lucas would be able to beat Landis and the TZ disaster and free film art from the Twilight Zone with the release that year of the Lucas executive produced, twilit, allegorical, CGI enhanced and implicitly Spielberg roasting Richard Marquand film, STAR WARS EPISODE VI: RETURN OF THE JEDI (1983).  Significantly, as defeating the ‘Black Knight’ allowed the Skyrocker with no name or voice to fly from the ruined city and back to his bachelor pad and also replace the desert gang leader, take over his gang and get the leader’s girl-played by Christiane Kruger-Besson also implied his hope that the success of STAR WARS EPISODE VI: RETURN OF THE JEDI would allow Lucas to defeat all of the other major film artists again-particularly the Anglophone film artists-and emerge once more as the King of film art.


Besson reaffirmed the implicit intent of LE DERNIER COMBAT by alluding to the desert prologue of the allegorical and implicitly Coppola roasting Spielberg film, CLOSE ENCOUNTERS OF THE THIRD KIND (1977), and the post-apocalyptic outback of the allegorical and implicitly Lucas and Spielberg roasting Miller film, THE ROAD WARRIOR (1981).  Besson reaffirmed his implicit intent by also alluding to the eerily prescient and twilit Sir Scott film, BLADE RUNNER (1982), a link reaffirmed by a member of the post-apocalyptic gang who resembled Rutger Hauer, who played the replicant Roy Batty in BLADE RUNNER.  A fitting link to BLADE RUNNER, given that the film was partly inspired by the French adult sly fi/fantasy narrative art magazine, METAL HURLANT-recreated as HEAVY METAL in North America-and that LE DERNIER COMBAT also came across as a film inspired in part by METAL HURLANT-and presciently anticipated an openly and exuberantly HEAVY METAL HURLANT themed Besson film in the future.


Alas for audiences and Besson, Lucas and Marquand failed to defeat Landis and the TZ disaster and free film art, film artists and the Temple Theatre from the Twilight Zone with STAR WARS EPISODE VI: RETURN OF THE JEDI.  However, the gritty, unpretentious, stripped to the basics, bullshit and special effects free LE DERNIER COMBAT was fine initial combat, indeed, that fought hard to win over disgruntled audiences and succeeded in its task.  This gave Besson the confidence to team up again with Bouise, Jolivet again as a co-writer, Reno, Pierre Carrive and Jean-Michel Castanie-who played two of the gang members in LE DERNIER COMBAT-producer Constantin Alexandrov, costume designer Martine Rapin, editor Sophie Schmit, composer Eric Serra-who not only contributed another original soundtrack, but also played his ‘…composer and bass player’ self-and director of photography Carlo Varini and return in full colour and fully verbal and expressive French with the twilit, Ozian themed, CGI free and allegorical indie docufeature film, SUBWAY (1985), which often alluded to the allegorical Jean-Luc Godard film, A BOUT DE SOUFFLE aka BREATHLESS (1960).


‘Pourquoi vous m’avez invite a cette soiree?’


Curiously, the film began with a cheerful, exuberant and good looking young man with wild peroxide blonde locks and wearing a tuxedo-played by Christophe Lambert-roaring down a highway full throttle in a Gremlin evoking car with a Benz driven by a Lucas lookalike and three other male passengers all in tuxedos in hot pursuit.  The sight and sound evoked the sight and sound of Michel Poiccard-played by Jean-Paul Belmondo-fleeing the police throughout A BOUT DE SOUFFLE/BREATHLESS, and also reminded us of the sight and sound of the mute and unnamed man being forced to flee his post-apocalyptic apartment by home-made plane by the arrival of four determinedly vengeful thugs at the beginning of LE DERNIER COMBAT.  Indeed, the sight of an actor who played one of the four determined thugs at the beginning of LE DERNIER COMBAT back again in a tux and writhing in fear and loathing in the back seat at the high speeds of the rocketing Benz openly affirmed the link of the beginning of SUBWAY to the beginning of LE DERNIER COMBAT.  The allusion to the first Besson film also reminded us that the mute and unnamed man of LE DERNIER COMBAT resembled and was implicitly linked to Lucas, implying that the unnamed young blonde driver was also implicitly linked to Lucas. 


Indeed, the license plate of the pursuing Benz was 7038-OE-78 reaffirmed that implication, for 73 was the year of the release of the allegorical and implicitly Don Shebib roasting Lucas film, AMERICAN GRAFFITI (1973); 77 was the year of the release of STAR WARS EPISODE IV: A NEW HOPE; and 83 was the year the Skyrocking dreams of Lucas crashed and burned with the failure of STAR WARS EPISODE VI: RETURN OF THE JEDI to fulfill the trimatic expectations created by the Lucas executive produced, allegorical, CGI enhanced, Ozian themed and implicitly Spielberg roasting Irv Kershner film, STAR WARS EPISODE V: THE EMPIRE STRIKES BACK (1980).  However, when the two cars roared into the streets of Paris, they both almost hit an older male jogger-played by Lucien Fleurot-who resembled and was implicitly linked to Freddie Francis, the director of photography of the twilit and allegorical David Lynch moving painting, DUNE (1984), an ambitious and thought provoking film that had bombed overall in the theatre. 


Thus, the implication was that the blonde driver was actually implicitly linked to Lynch, an implication that was reaffirmed after he was chased by his four pursuers into the Paris subway.  For we soon discovered that the iconoclastic, independent and irrepressible blonde guy’s name was Fred, a name that evoked Freddie Francis.  We also soon discovered that Fred was on the run and forced underground after causing a fuss by breaking into a safe at a toney party he had been invited to by Isabelle Adjani’s beautiful, beguiling, black clad and implicitly Wicked Witch of the West linked brunette whose name turned out to be Helena Kerman-a Wicked Witch who was curiously also implicitly linked to Dorothy, as a black and white photo of Helena as a girl that Fred treasured revealed her to be the twin of Judy Garland’s Dorothy Gale in the equally black and white prologue of the allegorical and implicitly Wallis Simpson bashing Victor Fleming film, THE WIZARD OF OZ (1939). 


Fred’s tragicomic plight reminded us that Lynch had been invited to the toney Hollywood party by Mel Brooks, who had been so impressed with the dreamy and allegorical Lynch moving painting, ERASERHEAD (1977), that he had persuaded the equally iconoclastic and independent Lynch to direct the allegorical and implicitly David Cronenberg and Sir Ridley Scott addressing moving painting, THE ELEPHANT MAN (1980), for his Brooksfilms production company.  However, while THE ELEPHANT MAN was a success, Lynch had gone into hiding by 1985 after he had also caused a fuss at the Hollywood party by failing in his attempt to heal the wounds of the TZ disaster, cleanse the cinematic universe and bring harmony back to the Temple Theatre with his pricey adaptation of DUNE, a film inspired by the equally allegorical and implicitly Robert A. Heinlein roasting Frank Herbert novel, Dune (1984).


Indeed, the sight of Fred in his tux at the beginning of the film reminded us of Jack Nance’s Henry Spencer in his black suit throughout ERASERHEAD, affirming the link of Fred to Lynch.  The sight of Fred with the tux jacket and bow tie off and wearing the white dress shirt with the top button securely buttoned reaffirmed his implicit link to Lynch, reminding us that Lynch was famous for always wearing a white dress shirt with the top button securely fastened.  The name of Helena also reminded us that Helena was the state capital of Montana, the birth state of Lynch, reaffirming Fred’s implicit link to Lynch.  The name of Helena also evoked that of Marin Kanter’s Carrie Fisher resembling Telena in the allegorical and implicitly Lynch bashing Kathryn Bigelow and Lafayette ‘Monty’ Montgomery docufeature indie film, THE LOVELESS (1982), reaffirming Fred’s implicit link to Lynch.  Last but not least, one of Fred’s new friends in the Parisian underworld was a singer named Paul-played by Arthur Simms-evoking Kyle MacLachlan’s Paul ‘Maud’dib’ Atreides of DUNE, reaffirming Fred’s implicit link to Lynch. 


Significantly, Fred got into all sorts of pranks down in the Ozian underworld with the implicitly Landis and Scarecrow linked Jean-Louis aka the Roller, the implicitly Tin Man linked Flower Seller and the implicitly Cowardly Lion linked Gros Bill-played by Jean-Hughes Anglade, Richard Bohringer and Christian Gomba, respectively-all the while trying to elude Michel Galabra’s implicitly head Wicked Witch of the West castle soldier linked subway Comissaire Gesberg and the implicitly criminal gang linked pair of Helena’s husband, Raymond Kerman, and her husband’s chief goon, Jean-played by Alexandrov and Pierre-Ange le Pogan, respectively-perhaps linked to Coppola and Robert De Niro, given the resemblance of Jean to De Niro.  These pranks, robberies and rockin’ tunes led to Fred being shot dead by Jean, evoking the sight and sound of Poiccard being shot dead by police detectives at the end of A BOUT DE SOUFFLE/BREATHLESS.  However, the sight of Fred coming back to the life, in the end, implied the hope of Besson that Lynch too would return to form with a good allegorical moving painting that would win back audiences, a truly moving painting that would not be another disastrous and unsuccessful blockbuster heist like DUNE but a smaller and more personal allegorical moving painting which Lynch did well and did indeed do the following year with his allegorical and equally Ozian themed moving painting, BLUE VELVET (1986).


As for Besson, if he was worried that there was no place for new film artists like him-and a French one, too boot-in a film world dominated by Anglophone film artists, his fear was baseless.  For audiences were too outraged and embittered by the TZ disaster, by the failure of STAR WARS EPISODE VI: RETURN OF THE JEDI to bring the STAR WARS Classic Trilogy to a satisfying trimax, and by the all too obvious and inane attempts by New Hollywood film artists to get back in their good books at the time, a desperate attempt all too exemplified by the infuriatingly pathetic attempt by Lucas and Spielberg in their dismal twilit and allegorical film, INDIANA JONES AND THE TEMPLE OF DOOM (1984), which saw the Temple of Doom’s enslaved Asian boys and girls liberated and saved by Harrison Ford’s Dr. Henry ‘Indiana’ Jones at the end of the film, so Renee Chen and Myca Le were also symbolically saved, so everything was okay, people, just relax and eat your popcorn and buy your movie tie-in merchandise, okay?  So enraged, that audiences turned eagerly to openly anti-Lucas and Spielberg film artists like Besson and Cameron, and embraced punky and spunky allegorical films like LE DERNIER COMBAT and SUBWAY, righteously furious and allegorical Cameron Zonebusters like THE TERMINATOR (1984) and ALIENS (1986), and funny and stress relieving films like the twilit, CGI enhanced and allegorical Ivan Reitman film, GHOSTBUSTERS (1984). 


Audiences also enjoyed a playful roast of Besson in the implicit form of Lester, the gang leader of Zone 7-played by Tim Thomerson-in the allegorical and post-TZ apocalypse Steve De Jarnatt film, CHERRY 2000 (1987)-which affirmed its implicit Besson roasting intent with all sorts of sarcastic allusions to LE DERNIER COMBAT and SUBWAY, along with such pre- and post-TZ apocalypse films as THE ROAD WARRIOR and the allegorical Miller and George Ogilvie film, MAD MAX BEYOND THUNDERDOME (1985).  Audiences also appeared to enjoy the implicit roasting Besson received in the form of Jeroen Krabbe’s duplicitous Koskov in the allegorical John Glen film, THE LIVING DAYLIGHTS (1987), its Serra evoking soundtrack underlining the implicit Besson roasting intent of the film.  However, audiences also flocked eagerly back to Besson when he returned with Alexandrov, Bouise, Reno, Serra and Varini on his next twilit, CGI free and allegorical indie docufeature film, THE BIG BLUE (1988).


‘It’s shining!’


Curiously, the opening three part twilit black and white prologue set in Greece in 1965 evoked the wistful and sepia tinged prologue set on a ferry off Cape Cod during a Bauer family vacation in 1964 that began the twilit, allegorical, Ozian themed and implicitly Spielberg addressing Howard film, SPLASH (1984), immediately implying that Besson was addressing Howard and SPLASH on one level in THE BIG BLUE.  The first part of the prologue introduced us to the Franco-American boy, Jacques Mayol-played by Bruce Guerre-Berthelot.  Significantly, this first part made clear that the boy Mayol was already a seasoned and confident diver who needed no adult supervision and could hold his breath and stay under water for long periods of time, unlike the boy Allan Bauer in SPLASH-played by David Kreps-who had to be rescued by an adult tourist when he dove off the ferry into the water looking for the young Madison the mergirl-played by Shayla MacKarvich.  Indeed, young Mayol was at one with the undersea world, already accepted by its inhabitants so much that a moray eel eagerly came out of its cave at his approach in order to be fed by him.  Clearly, in THE BIG BLUE, the boy was the merperson, not the girl, setting us up for the blonde human woman falling madly in love with the adult merman in a reversal of SPLASH. 


The second part of the prologue introduced us to Mayol’s arch nemesis, Enzo Molinari-his first name an anagram for ‘Zone’, and played as a boy by Gregory Forstner-who fancied himself the better free diver.  Significantly, the boy Enzo resembled the adult and implicitly Landis linked ‘Black Knight’ of the equally twilit and black and white LE DERNIER COMBAT, preparing us for the return of Reno as the adult Enzo and for more battles between implicit symbolic film artists to come.  With one of those implicit symbolic film artists implicitly linked to Kubrick, for allusions to the presciently twilit, allegorical and implicitly David Cronenberg roasting Kubrick film, THE SHINING (1980), were seen in the first diving battle between the boy Mayol and the boy Molinari that Mayol curiously allowed Molinari to win.


Significantly, part three of the prologue was kicked off by the sight and sound of young Mayol waking up from a nightmare, which evoked the sight and sound of the implicitly Kubrick linked werewolf victim David Kessler-played by David Naughton-waking up from nightmares throughout the presciently twilit and allegorical Landis film, AN AMERICAN WEREWOLF IN LONDON (1981).  This implication that Mayol was linked to Landis was reaffirmed by the death of the elder Mayol-played by Besson’s father, Claude-in a diving accident that ended the third part of the prologue.  For the elder Mayol’s death reminded us that Landis lost his father when he was young.  Thus, the implication was that Mayol was linked to Landis and Molinari was linked to Kubrick in THE BIG BLUE.


Indeed, this implication that Landis was linked to Mayol was reaffirmed after a full colour vignette in Sicily in 1988 reintroduced audiences to Reno’s older Enzo and made clear that he was still eager to beat the ‘little Frenchman’ in an important free dive.  For after this vignette we then found ourselves at an American Diving Research Station in a tiny village called La Raya in the desolate Andean highlands of Peru that recalled the equally desolate northern English moorlands seen at the beginning of AN AMERICAN WEREWOLF IN LONDON.  The sight and sound of the beautiful, blonde and Madison evoking New York insurance agent, Johana Baker-played by Rosanna Arquette-meeting and falling madly in love with the adult Mayol merman-played by Jean-Marc Barr-who was astounding the American researcher Dr. Laurence-who resembled and was implicitly linked to Cronenberg, one of the few film artists who openly supported Landis after the TZ disaster, and was played by Paul Shenar-with long free dives in the freezing waters of an icebound Andean lake, aided by a naturally lowering heartbeat accompanied by a shift of blood to his brain usually more common with dolphins that implied that Mayol was indeed an unique and dolphin-like merman also affirmed the implication that Mayol was linked to Landis.  For the surname of Johana Baker evoked Rick Baker, the make-up effects man on AN AMERICAN WEREWOLF IN LONDON.  Her boss back in New York also openly affirmed the implicit link of Landis and Mayol, for Duffy was played by Griffin Dunne, who played the unfortunate Jack Goodman, the first werewolf victim in AN AMERICAN WEREWOLF IN LONDON.


Thus, Mayol’s film long diving duels with Enzo that climaxed with a 400 metre free dive that allowed him to triumph over Enzo implied the generous and sympathetic hope of Besson that Landis would be able to triumph over Kubrick and leave behind the Zone now that he and his four co-defendants had been found not guilty of manslaughter at the end of the TZ trial in 1987.  And be embraced by wary audiences again like Mayol was finally embraced after the triumph over Enzo by the wary dolphins who watched over him from a safe but interested distance throughout the film, in the end.  This ending also implied the hope of Besson that he and his Franco-American style of film art-symbolized by a bored and petulant Helena in her Mohawk hairdo in SUBWAY-would be finally accepted by equally watchful, suspicious and fickle audiences, allowing him to become not another all too human and mere fortune and glory lusting film artist but a heady and transcendent new Franco-American ‘Daulphin’ of world cinema-spelt in a way that fused the English word for dolphin with the French dauphin to emphasize that now a J.D. Master of both Anglophone and Francophone film art was Besson. 


It was a hope that was realized, for THE BIG BLUE was a very moving and inspirational film and box office smash that propelled Besson into the top ranks of world film aritsts.  Curiously, however, the Daulphin surprised audiences with a dramatic change of tone when he teamed up again with Anglade, Bouise, Reno, Serra, Marc Duret and Patrick Fontana-who played Enzo’s younger brothers, Roberto and Alfredo, respectively, in THE BIG BLUE-and producer Patrice Ledoux, editor Olivier Mauffroy and production designer Dan Weil-all also from THE BIG BLUE-and left behind the heady and mystic transcendence and oneness with the universal cinematic ocean and its fickle dolphin audiences of THE BIG BLUE for more dark and diseased depths to implicitly and indignantly roast Bigelow for creating the gleefully violent, twilit, allegorical and implicitly Lucas addressing docufeature indie film, NEAR DARK (1987), in the equally twilit, allegorical, violent, CGI free and Ozian themed allegorical indie docufeature film, LA FEMME NIKITA (1990).


‘Mon nom, c’est cocotte!’


Indeed, the raging tornado of a shootout between a drugged up gang of Ozian themed youth-comprised of the implicitly Scarecrow linked Rico, the implicitly Bigelow and Dorothy/Wicked Witch of the West linked Nikita, the implicitly Cowardly Lion linked Antoine/Coyotte, the implicitly Tin Man linked and axe wielding Zap and their unconscious and implicitly Glinda linked female companion-played by Duret, Anne Parillaud, Patrick Fontana, Alain Lathiere and Laura Cheron, respectively-and the Parisienne police during a pharmacy robbery that kicked off the film immediately and implicitly affirmed that Besson was responding to NEAR DARK in LA FEMME NIKITA.  For the violent shootout evoked an equally violent shootout between the outlaw vampire gang-comprised of the implicitly Kennedy linked Diamondback, the implicitly Marshall linked Jesse Hooker, the implicitly Spielberg linked Severen and the implicitly Joe Dante linked Homer-played by Jenette Goldstein, Lance Henriksen, Bill Paxton and Joshua Miller, respectively-and Kansas police officers midway through NEAR DARK.  However, unlike their American colleagues in NEAR DARK, the Paris police won this shootout, killing Antoine/Coyotte, Rico and Zap. 


Curiously, the lone survivor, Nikita, was arrested, convicted and banished to a Black Castle of a prison for the deaths of three police officers in the shootout.  Here her death was faked, and she ‘died’ like all Wicked Witches of the East in order to open the gates to the healing elemental and Ozian dream.  Indeed, the healing dream began when the lean, mean, and unapologetically violent Nikita was ‘reborn’ and given a chance to escape imprisonment and redeem herself as a femme fatale assassin and Good Wicked Witch of the West for a top secret French government agency.  Interestingly, this government assassin training noticeably anticipated a future allegorical Besson film, for on the wall of her windowless cell of a room in the secret agency was a poster of HEAVY METAL contributor Richard Corben’s cover for the allegorical Meatloaf recording, BAT OUT OF HELL (1977). 


Humourously, the lean, mean and violent Nikita was also patiently weaned off her rough and masculine ways and patiently transformed into a beautiful ‘real’ woman during her assassin training by the implicitly Great Oz linked Bob and the implicitly Glinda linked Amande-played by Tcheky Karyo and Jeanne Moreau, respectively-implying that the Daulphin did not approve of Bigelow’s violent and ‘masculine’ film art and hoped that she would leave it behind and make proper ‘feminine’ film art when she grew up and became a ‘real’ woman.  In fact, given that Nikita fled her violent secret agent job after the last botched and unusually violent assignment saw Reno’s Victor-his name evoking Fleming and Morrow-being called in to clean up the mess and perhaps returned to Kansas, in the end, Besson even implied his hope that Bigelow would give up on film art and leave the Temple Theatre to ‘real’ masculine film artists.


        An implicit message that was ignored by Bigelow, as the tall, calm, confident, commanding, fearless, creative, original and independent Bigelow fittingly and confidently proclaimed her determination to continue as a film artist the year of the release of LA FEMME NIKITA in the allegorical and implicitly Landis bashing Bigelow docufeature indie film, BLUE STEEL (1990).  For the film saw the implicitly Cronenberg linked New York Police Department Officer-and Detective-Megan A. Turner-played by Jamie Lee Curtis-remaining in the NYPD at the end of the film despite the stress of her job and the misgivings of male officers, making it implicitly clear that Bigelow was committed to remaining in the ranks of elite film artists come hell or high water regardless of what her male colleagues or audiences thought about anything.  Curiously, as if to implicitly affirm that Besson and Bigelow were operating on similar wavelengths in 1990, an overlooked gun that was used to kill featured prominently in BLUE STEEL and LA FEMME NIKITA.


At any rate, to make it implicitly clear that she had no intention of abandoning film art, Bigelow followed BLUE STEEL with her most determined film to date, the allegorical and implicitly Lucas and Lynch addressing indie artbuster, POINT BREAK (1991).  As for the Daulphin, he collaborated again with his father, Ledoux, Reno, Serra, Weil and LA FEMME NIKITA director of photography Thierry Arbogast to implicitly address Lynch again in the twilit, Ozian themed, CGI free and allegorical indie docufeature film, LEON: THE PROFESSIONAL (1994).


‘You saved my life,

so you must have saved it

for a good reason.’


Significantly, the film began with the camera flying over water and then Central Park, evoked the driving over pavement beginning of LA FEMME NIKITA and the flying over water beginning of THE BIG BLUE.  Intriguingly, flying over the trees of Central Park also evoked the flying over the forests and mountains of northern Oregon beginning of THE SHINING, implying that Besson was addressing Kubrick in the film.  Indeed, this implication was reaffirmed when the camera drove through the streets of New York City to a Little Italy neighborhood and an Italian restaurant named Guido’s.  For here Reno’s film art, milk luvin’ and implicitly Kubrick linked lone hitman for hire, Leon McGuffin, met in a back room about a job with Tony-his name evoking Tony, the imaginary friend of Danny Torrance (played by Danny Lloyd) in THE SHINING, and played by Danny Aiello-a scene that evoked the sight and sound of the replicant Leon Kowalski-played by Brion James-being interviewed by a Blade Runner named Dave Holden-played by Morgan Paull-at the beginning of BLADE RUNNER. 


Significantly, Tony sent McGuffin out on a mission to make the implicitly Coppola linked Mr. Jones-played by Frank Senger-an offer he couldn’t refuse.  McGuffin not only did just that, but also took out all of the bodyguards of Mr. Jones in a way that evoked the sight of Reno’s Victor arriving like a replacement director to try to set Nikita’s final mission straight at the end of LA FEMME NIKITA, neatly linking both films together.  Curiously, after this bloody beginning, McGuffin then spent the rest of the film protecting the young and implicitly Dorothy linked Mathilda Lando-played by Natalie Portman-and hiding her from Evil DEA Agents like the cigarette and white dress shirt favouring and hence implicitly Lynch linked Stansfield and Willy Blood-played by Gary Oldman and Willy One Blood, respectively-who were out to kill her as she had discovered that they had mercilessly gunned down her implicitly Lucas linked drug middleman father, Mr. Lando-played by Michael Badalucco-and her mother, sister and brother-played by Ellen Greene, Elizabeth Regen and Carl J. Matusovich, respectively. 


Significantly, McGuffin’s scenes with Mathilda affirmed his implicit link to Kubrick.  For McGuffin taught Mathilda the basics of being a sniper, evoking the mad sniper, Leonard ‘Gomer Pyle’ Lawrence-played by Vincent D’Onofrio-in the twilit and allegorical Kubrick film, FULL METAL JACKET (1987).  The sight of McGuffin hacking a hole in the wall of apartment 4F with a red safety axe so that Mathilda could escape at the end of the film also affirmed the implicit link of McGuffin to Kubrick, for the sight and sound evoked the sight and sound of John ‘Jack’ Torrance-played by Jack Nicholson-using a red safety axe to hack through a door in order to get at his terrified wife, Wendy-played by Shelley Duvall-at the end of THE SHINING.


As Mathilda was not just the daughter but the creation of a father implicitly linked to Lucas, she was implicitly linked to and, indeed, implicitly symbolized the film art of Lucas.  Thus, as Mathilda also lived to fight another day, in the end, due to the fact that before he died, lone gunslinger McGuffin hunted down and killed Blood and Stansfield in the neo-Western end, the Daulphin implicitly hoped that Lucas and his film art would also live to fight another day.  Indeed, Besson implicitly hoped that Lucas would succeed again with a fresh new CGI enhanced film that was as fresh and new as sweet l’il Mathilda.  Indeed, the Daulphin reaffirmed this implicit hope and implicitly helped inspire Lucas to kick off a new era of CGI enhanced film art when he teamed up again with Arbogast, Ledoux, Oldman, Serra and Weil and rose again to the heady depths and heights of THE BIG BLUE to prove in his first  big and CGI enhanced film that he had the heavy mettle indeed to give the world a one way ticket to daylight so as to implicitly help return a scintillating new Skyrocking spirit to the Temple Theatre-and one even more hopeful, exuberant and CGI enhanced than ever before, in the twentieth anniversary year of the release of STAR WARS EPISODE IV: A NEW HOPE to reboot-with the wholly remarkable, truly fantastic, Ozian themed and CGI enhanced allegorical indie film, THE FIFTH ELEMENT (1997).




Indeed, allusions to AMERICAN GRAFFITI, the STAR WARS Classic Trilogy and the allegorical Lucas film, THX 1138 (1971), throughout the film affirmed the implicit Lucas addressing intent of the film.  Constant allusions to THE WIZARD OF OZ also affirmed the implicit Lucas addressing intent of the film, reminding us that AMERICAN GRAFFITI and the STAR WARS Classic Trilogy were Ozian themed films.  Last but not least, allusions to the films of the 1971 to 1983 era-particularly any that implicitly addressed Lucas-reaffirmed the implication that the film was addressing the youthful Lucas era, the TZ disaster and the outbreak of the dread allegorical Zone Wars.  Indeed, allusions to the film art of the 1971-83 years began immediately, for the sight of a biomechanical Mondoshowan spaceship arriving in orbit over Earth reminded us that also began in orbit around Earth did the presciently twilit, allegorical and Reitman executive produced Gerald Potterton film, HEAVY METAL: THE MOVIE (1981), a fitting allusion indeed given that THE FIFTH ELEMENT came across as a live action story straight out of the pages of HEAVY METAL/METAL HURLANT, a link openly affirmed by the presence of legendary METAL HURLANT/HEAVY METAL artist/writer and uncredited HEAVY METAL: THE MOVIE contributor Jean ‘Moebius’ Giraud as a designer of THE FIFTH ELEMENT.



From orbit, we fell down to an Egyptian Temple Theatre in 1914, evoking the Well of Souls and the Temple holding the Lost Ark of the Covenant in the eerily twilit, Lucas executive produced and allegorical Spielberg film, RAIDERS OF THE LOST ARK (1981), reaffirming the film’s implicit in Lucas and his film art and linking the beginning of THE FIFTH ELEMENT to the Last Good Year of film before the TZ disaster.  A Lucas lookalike Egyptian boy named Aziz-played by Said Talidi-reaffirmed the film’s implicit interest in Lucas and helped the Peter Ustinov resembling Professor Pacoli-his surname evoking that of Ben Obi Wan Kenobi (played by Alec Guinness) in another nod to Lucas, and played by John Bluthal-illuminate the meaning of some mysterious hieroglyphics on one of the inner temple walls.  Significantly, Prof. Pacoli’s translation of the mysterious hieroglyphics-‘...when the three planets are in eclipse, a black hole like a door is opened, Evil comes, spreading terror and chaos’-reminded us of the three victims of the TZ disaster, and that Evil, chaos, confusion and righteous fury had been gripping audiences, film art, film artists and the Temple Theatre since the disaster. 


Indeed, the implicit link of the inscription to the TZ disaster and the dread allegorical Zone Wars it had unleashed was affirmed by the fact that it evoked a similar mysterious and prophetic inscription on a wall in the allegorical Jim Henson and Frank Oz film, THE DARK CRYSTAL (1982), an inscription that prophesied that ‘…when single shines the triple sun, what was sundered and undone shall be whole’, openly linking THE FIFTH ELEMENT to the twilit and disastrous year of 1982.  Of course, Pacoli’s translation also evoked ‘…a shadow shall fall over the universe, and Evil will grow in its path, and death will come from the skies’, the eerily twilit and prescient opening Percy Rodrigues (?) voiceover (VO ) that was heard at the beginning of HEAVY METAL: THE MOVIE.  A fitting allusion, as it reminded us of the carnol and blockbuster mayhem obsessed Loc-nar, a dread and insidious ball of gloating Evil discovered in another desert by another professor at the beginning of HEAVY METAL: THE MOVIE and eventually fought off by a legendary female warrior at the end of that film, thus preparing audiences for the arrival of another insidious ball of Evil fought off by another legendary woman warrior in THE FIFTH ELEMENT. 


Indeed, the mysterious hieroglyphics translated by Professor Pacoli also mentioned the existence of a being that would be centred between the four elements every five thousand years so as to destroy Evil, preparing us for the arrival of the embodied Fifth Elemental warrior.  The existence of this Fifth Elemental being was quickly confirmed by the arrival at the temple of the biomechanical and extraterrestrial Mondoshowans, their name linking them to world cinema and their huge biomechanical bodies evoking the equally huge H.R. Giger designed biomechanical and Wicked Alien of the West in Sir Scott’s allegorical, Ozian themed and implicitly Lucas roasting film, ALIEN (1979), and the alien hordes in ALIENS.  Their brown, blocky bodies and shambling, side to side gait also evoked E.T. in the allegorical and implicitly Lucas addressing Spielberg film, E.T., THE EXTRATERRESTRIAL (1982), reaffirming the film’s implicit interest in Spielberg and the twilit and disastrous events of 1982.  Indeed, the film’s implicit link to the fateful year of 1982 was openly affirmed by the faithful and implicitly Kubrick linked temple Priest-played by John Bennett-who heralded the arrival of the Mondoshowans with the words ‘...they’re here!’, the most famous line of the Spielberg co-produced and co-written Tobe Hooper allegorical film, POLTERGEIST (1982).


Soon one of the Mondoshowans opened a secret door in the wall of the temple with a key hidden in its right forefinger, a right forefinger that evoked the healing right forefinger of E.T.  The opening of the secret door revealed a hidden chamber containing the four stones that contained the four elements, which were boxed up and taken by the Mondoshowan Guardians of the elemental stones with a promise that they would be returned for use in three hundred years when they would be needed by the embodied Fifth Element to combat and defeat Evil in the 23rd century, a fitting choice of century as it evoked the 23rd day of July of 1982 of the TZ disaster.  The departure of the Mondoshowans with the stones-stones that recalled the equally legendary Sankara stones of INDIANA JONES AND THE TEMPLE OF DOOM-and the embodied statue of the Fifth Element also evoked E.T., THE EXTRATERRESTRIAL  For, like E.T., one Mondoshowan was accidentally trapped and left behind in the hidden chamber when the secret door closed by mistake, leaving only the Mondoshowan’s finger to stick out and give up its right forefinger key to the temple Priest who promised to pass it on to other priests so as to be ready to reopen the hidden chamber when returned did the embodied Fifth Element.  The camera then focussed on a part of the mysterious hieroglyphics that saw an intersection of circles and triangles, a sight that implicitly symbolized the twilit eclipse of the three planets.


Suddenly, the hieroglyphics turned into a similar digital graphic on a television screen that was monitoring something circular, a primitive graphic that recalled the similarly primitive CGI seen throughout the STAR WARS Classic Trilogy and the allegorical and implicitly Lucas and Spielberg addressing Steven Lisberger film, TRON (1982), reiterating the implicit film’s interest in Lucas and the twilit and disastrous events of 1982.  Shifting to a point of view (POV) in deep space outside a Star Destroyer evoking Earth Federation spaceship-the one presumably containing the computer monitors that we had just been looking at-an intertitle told us that we were now three hundred years in the future in the twenty-third century-March 18, 2263, to be precise-an intertitle that reminded us that the Mondoshowans had foreseen the coming of an Evil in three hundred years so insidious that it would necessitate the return of the stones containing the four elements and the arrival of the promised and legendary Fifth Elemental warrior so as to combat and defeat that Evil.  On cue, we noticed that the neo-Star Destroyer was moving in on and monitoring a sinister and implicitly Wicked Witch of the West linked ball of pure CGI enhanced Evil floating in space like a huge CGI Loc-nar. 


The allusion to the carnol Loc-nar reminded us that the insidious and malicious green floating ball was defeated in the end by the pure and legendary heroine Taarna, the literal embodiment of hand-animated film art, who was summoned from the realm of legend to a distant planet to free it from the Evil grip of the carnol Loc-nar in the concluding ‘Taarna’ episode of HEAVY METAL: THE MOVIE.  This ending had implied that Potterton and Reitman wanted to free New Hollywood film artists from the equally carnal, commercial and blockbuster lusts that began taking over New Hollywood film art in the late Seventies and early Eighties, so as to keep film art on the heady and artistic path that it had embraced in the late Sixties and early Seventies.  Thus, by creating a new and even more Wicked Loc-nar, Besson implicitly affirmed that he was on a similar quest in THE FIFTH ELEMENT to free film artists from creating artless, mindless and money obsessed CGI enhanced blockbuster beasts in the new digital age with a higher minded and CGI enhanced allegorical film with a new legendary heroine who was the embodiment of CGI enhanced film art. 


Significantly, Besson also implied that he wanted Lucas and not himself to return and lead the CGI enhanced film art charge into the new millennium.  For just as the Wicked Loc-nar ball of Evil engulfed the neo-Star Destroyer with its Evil essence before heading relentless for Earth-evoking the sight and sound of the powerful and sentient luminescent power field called V’ger engulfing an Imperial Klingon cruiser before heading equally relentlessly for 23rd century Earth at the beginning of the allegorical and CGI enhanced Robert Wise film, STAR TREK: THE MOTION PICTURE (1979)-a jumpcut introduced the implicitly Fire and Cowardly Lion linked Korben Dallas-played by Bruce Willis-fittingly waking up from an equally dark and terrible nightmare at two in the early morning of March 18, 2263 in his tiny apartment in the South Brooklyn of the future Emerald City of New York.  Here we soon discovered that Dallas was not just a flying taxi driver who evoked the world weary and Richard Romanus voiced New York flying taxi driver, Harry Canyon, in the ‘Harry Canyon’ episode of HEAVY METAL: THE MOVIE and the implicitly Lucas linked New York Vietnam vet taxi driver Travis Bickle-played by De Niro-in the allegorical and implicitly Lucas addressing Martin Scorsese film, TAXI DRIVER (1976). 


For Dallas was an ex-Major and space fighter pilot in the planetary space force and brooding bachelor whose wife had run off with his lawyer, reminding us that at this point in time Lucas was an ex-Jedi film artist and brooding bachelor whose wife had run off with a stain glass artisan who had helped create his private Skywalker Ranch film facility outside San Francisco, implicitly linking Dallas to Lucas.  Indeed, the surname of Dallas reminded us of the implicitly Lucas linked Captain Dallas-played by Tom Skerritt-in ALIEN, affirming the implicit link of Dallas to Lucas.  His first name, Korben, implicitly affirmed his link to an American film artist, for it recalled the surname of American Grand Master Richard Corben, whose work at the time and to this day was fittingly featured in HEAVY METAL/METAL HURLANT and HEAVY METAL: THE MOVIE.  The fact that Dallas also evoked the equally divorced, brooding and implicitly Lucas linked ex-Blade Runner, Rick Deckard-played by Harrison Ford-in BLADE RUNNER also affirmed the implicit link of Dallas to Lucas.  Indeed, the presence of James as the implicitly Cameron linked General Munro affirmed the film’s interest in BLADE RUNNER, as James played Leon in that film.  Last but not least, the blonde hair of Dallas evoked that of Luke Skywalker-played by Mark Hamill-in the STAR WARS Classic Trilogy, reaffirming his implicit link to Lucas.  Thus, it was fitting that the number of the apartment of Dallas was 28153, a number that evoked the years of the release of HEAVY METAL: THE MOVIE, BLADE RUNNER, STAR WARS EPISODE VI: RETURN OF THE JEDI and the year of the TZ disaster.


Curiously, not long after making his lonely, miserable and implicitly Lucas linked appearance, the embodied Fifth Elemental warrior, the implicitly Dorothy, Leia and Taarna linked Leeloominai aka Leeloo-played by Milla Jovovich-fell into the back seat of his flying taxi, and Dallas was soon desperately trying to prevent the world and CGI enhanced film art in the symbolic form of Leeloo from being consumed by the Wicked Loc-nar.  Indeed, Leeloo’s implicit status as the embodiment of CGI enhanced film art was affirmed by the fact that she arrived on the scene in 23rd century New York after being fittingly recreated in humanoid form in an elaborate CGI sequence in a Nucleolab chamber from her right hand, all that remained of her body after the destruction of her spaceship on the way to Earth by Colonial Viper evoking space fighters piloted by gleefully violent alien warriors called Mangalores, who evoked the equally destructive gremlins of the Kennedy, Marshall and Spielberg executive produced and allegorical Dante film, GREMLINS (1984). 


Of course, Leeloo’s red hair, youth and beauty evoked the equally young and beautiful red haired damsel in distress voiced by Susan Roman in the ‘Harry Canyon’ segment of HEAVY METAL: THE MOVIE, the equally young, beautiful, red haired and indomitable E. Johnson-played by Melanie Griffiths-in CHERRY 2000, and the equally young, beautiful, red haired and feisty Niki-played by Molly Ringwald-in the twilit and allegorical Lamont Johnson film, SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE (1983), a film that also featured a despondent ex-Major in the Space Corps named Wolff-played by Peter Strauss.  In addition, Leeloo’s initial inability to talk evoked the initial inability to talk of the implicitly Dorothy linked Madison the mermaid-played by Daryl Hannah-in SPLASH, while her love of scanty clothing evoked Jane Fonda’s implicitly Dorothy linked Barbarella in the allegorical, Ozian themed and satirical Vadim film, BARBARELLA (1968). 


In order to save CGI enhanced film art and the world, Dallas and Leeloo first had to escape the bumbling and pursuing NYPD in their flying cars, their tragicomic exploits recalling the equally bumbling robot police officers of THX 1138 and the equally bumbling human police officers of AMERICAN GRAFITTI.  Then Dallas and Leeloo set off on a madcap and tragicomic intergalactic quest to a space cruise ship that orbited the vacation world of Fhloston Paradise to find the implicitly Bigelow and Glinda the Good linked extraterrestrial opera singer, Diva Plavalaguna-who resembled a cross between a dolphin, the Alien, and Oola the Twy’lek dancing girl (played by Femi Taylor) in STAR WARS EPISODE VI: RETURN OF THE JEDI, and was played by Maiwenn-and retrieve the four stones containing the power of the four elements before they were captured by the mayhem loving Mangalores or the Evil, violence loving and implicitly Cameron and Nikko linked uber-corporatist, Jean-Baptiste Emmanuel Zorg-played by Oldman-so as to take them back to the hidden chamber in the Egyptian Temple Theatre in order to centre Leeloo between them and channel the power of the four elements to destroy the carnol and Wicked Loc-nar before its insidious and all consuming Evil could engulf Earth.  Fittingly, this desperate quest was three more helpful companions who were openly linked to the rest of the four elements and to Dorothy’s three other helpful companions in THE WIZARD OF OZ. 


This elemental Ozian trio were the young and implicitly Earth and Scarecrow linked priest, David-played by Charlie Creed-Miles; the garrulous, Wolfman Jack evoking and implicitly Air and Great Oz linked Radio Cosmos DJ, Ruby Rhod-played by Chris Tucker; and the old and implicitly Water, Tin Man and Sir Scott linked Father Vito Cornelius-played by Ian Holm, who openly linked the film to ALIEN via his role as the also implicitly Tin Man linked Ash the android in that film-and who also evoked Jedi Knight Ben Obi Wan Kenobi-played by Alec Guiness-in the STAR WARS Classic Trilogy.  Significantly, the link of Leeloo’s four companions to the four elements finally and openly affirmed for the first time that the four helpful companions of Dorothy had always been linked to the four elements, going back to the allegorical L. Frank Baum children’s story, The Wonderful Wizard Of Oz (1900). 


After defeating the Mangalores, and after the foolish and greedy Zorg killed himself in the explosion of his own blockbuster bomb, the Ozian heroes brought the film full healing and harmonizing circle by bringing the four elemental stones back to the hidden chamber in the Egyptian Temple Theatre seen in the prologue of the film.  Here the four elemental stones were placed and activated in their four separate stone pillars by the character that embodied that element, and then Leeloo and Dallas, standing on a platform between them, declared their love for each other, an exultant crazy love that turned out to be what was needed for the CGI enhanced and lightsaber evoking fource of the four elements to pour into Leeloo and be channelled into the atmosphere above Earth in a CGI enhanced blast of awe inspiring and liberating power, evoking the ends of THE DARK CRYSTAL, RAIDERS OF THE LOST ARK in the Last Good Year of film art and the equally fourcfull, explosive and eucatastrophic ending of the twilit, allegorical and Ozian themed Ivan Reitman film, GHOSTBUSTERS (1984)-allowing Good embodied CGI enhanced film art to stop the Evil, CGI enhanced and blockbuster loot lusting carnol Wicked Loc-nar before it engulfed Earth and its Temple Theatres and transforming the Wicked Loc-nar into a second dead moon in orbit around Earth-hopefully, a second dead moon that would not play doube trouble havoc with the tides of Earth!


Thus, given that Dallas and Leeloo were implicitly linked to Lucas and his CGI enhanced film art throughout THE FIFTH ELEMENT, Besson implied his hope that Lucas would soon return to the Temple Theatre with a truly fantastic CGI enhanced film that would cleanse the universe, bring harmony back to audiences, film art, film artists and the Temple Theatre and kicked off a daylit and Skryocking new era of TZ disaster free CGI enhanced film art.  Indeed, the film’s final scene reaffirmed this implicit new hope.  For THE FIFTH ELEMENT ended with Dallas and Leeloo a loving couple back in the Nucleolab chamber where Leeloo was recreated in humanoid form, closing lovemaking that evoked similar ambiguous and androgynous love scenes between LUH 3417 and THX 1138-played by Maggie McOmie and Robert Duvall, respectively-in THX 1138.  Curiously, the ending also evoked the traditional ending of any Bond film-indeed, the ending came across as a fusion of the endings of the allegorical and implicitly Spielberg roasting Lewis Gilbert film, THE SPY WHO LOVED ME (1977), and the implicitly Folsey jr. and Landis roasting John Glen film, OCTOPUSSY (1983).


Significantly, this new hope that Lucas would return to cleanse the universe was not uncommon at the time, for Bigelow and Cameron, Tim Burton and Sir Scott implied the same hope in their twilit, allegorical and CGI enhanced films, STRANGE DAYS (1995), MARS ATTACKS! (1996) and G. I. JANE (1997).  A brave new and TZ disaster free era of CGI enhanced film art that Besson would be a significant part of, as THE FIFTH ELEMENT was a truly fantastic and wholly remarkable film that amply affirmed that Besson was now indeed the Daulphin of world film art.  Curiously, and perhaps inspired by the two occasions when the determined and indomitable SEAL trainee, Lt. Jordan O’Neil-played by Demi Moore-was sarcastically compared to Joan of Arc in G. I. JANE, the Daulphin again flipped from heady cinematic heights to dark cinematic depths and exchanged a legendary extraterrestrial heroine for a legendary human heroine when he teamed up again with Arbogast, Jovovich, Karyo, Ledoux and Serra to implicitly reply to STRANGE DAYS in his next twilit, CGI enhanced and allegorical docufeature indie film, THE MESSENGER (1999).


‘Now, let all those who love me…follow me!’


Indeed, the opening English attack on the village of the young Joan of Arc-played by Jane Valentine-did not just evoke the opening attack on the Cimmerian village of the young Conan-played by Jorge Sanz-by the Dark Forces of the implicitly Lucas linked Thulsa Doom-played by James E. Jones-at the beginning of the allegorical and implicitly Lucas roasting John Milius film, CONAN THE BARBARIAN (1982), linking THE MESSENGER to the year of the TZ disaster.  For the murderous rape of Joan’s sister, Catherine-played by Framboise Commendy-during the attack evoked the murderous rape of Iris-played by Brigitte Bako-by Peltier captured on SQUID playback in STRANGE DAYS-as well as the  murderous rape of the implicitly Sofia Coppola linked Shelly Webster-played by Sofia Sania-partly seen by Brandon Lee’s implicitly Bigelow linked Eric Draven in twilit and allegorical Alex Proyas film, THE CROW (1994), immediately and implicitly affirming that Besson was roasting Bigelow again as in LA FEMME NIKITA in THE MESSENGER. 


The resemblance of Jovovich’s adult Joan with her hair shorn into a boyish cut to New York Police Department Officer Megan Turner-played by Jamie Lee Curtis-with her boycut in the twilit and allegorical film, BLUE STEEL (1990), affirmed the implicit link of the violence embracing Joan to the violence embracing Bigelow.  This implication was also affirmed by the appearance of Karyo as Dunois, a mentor to the adult Joan, for his presence reminded us that Karyo had played Nikita’s mentor, the Great Bob, at the secret French government agency in LA FEMME NIKITA.  The appearance of Dustin Hoffman as an implicitly Lucas linked Conscience of Joan in a Jedi Knight evoking hooded black robe reaffirmed the implicit link of Joan to Bigelow, reminding us that Bigelow implicitly and sympathetically addressed Lucas in the form of Lenny Nero-played by Ralph Fiennes-in STRANGE DAYS.


The implication that the film was addressing Bigelow was implicitly reaffirmed by the scene in a crowded castle chamber in Chinon that quickly followed the opening battle that introduced Charles VII-played by John Malkovich-and saw him nervously awaiting the arrival of the older and visionary Joan-played by Jovovich-while wearing a Fremen stillsuit-like coat.  For the scene evoked the similarly crowded scene inside the throne room of the Imperial palace at Kaitain at the beginning of DUNE that saw Jose Ferrer’s Padishah Emperor Shaddam IV awaiting with equal trepidation the arrival of a Third Stage Spacing Guild Navigator, implicitly linking Charles VII to Lynch, who had been implicitly roasted by Bigelow in such twilit and allegorical films as THE LOVELESS (1982)-which was co-written and co-directed by Lafayette ‘Monty’ Montgomery-and POINT BREAK (1991).  The resemblance of the mother-in-law and adviser of Charles VII, Yolande of Aragon-played by Faye Dunaway-to the Bene Gesserit adviser to Emperor Shaddam IV, Reverend Mother Gaius Helen Mohiam-played by Sian Phillips–reaffirmed the film’s link to DUNE and the implicit link of Charles VII to Lynch.  Indeed, the visionary messianic Joan evoked the equally visionary messiah, Paul ‘Maud’dib’ Atreides, in DUNE, reaffirming the film’s interest in DUNE.  Thus, with the burning of ‘Maude’dib’ at the stake for Joan’s dubious ‘sins’, Bigelow implicitly burned for her sins of implicitly roasting Besson and Lynch in her film art, in the end.


Curiously, Kubrick implicitly warned Besson not to get too close to twilit Hollywood lest he trapped in the Twilight Zone as well in his twilit and allegorical docufeature artbuster, EYES WIDE SHUT (1999), an implication affirmed by the film’s allusions to LEON: THE PROFESSIONAL and THE FIFTH ELEMENT.  As for Darren Aronofsky, he implicitly and sarcastically roasted the Daulphin and THE FIFTH ELEMENT in his allegorical film, REQUIEM FOR A DREAM (2000), while Sir Scott implicitly roasted Besson in the implicit form of Commendatore Rinaldo Pazzi-played by Giancarlo Giannini-of the Questura Di Firenze in his twilit and allegorical film, HANNIBAL (2001).  For his part, the Daulphin collaborated with Arbogast to implicitly commiserate with the failure of Lucas to truly succeed with his STAR WARS Tragic Trilogy in the twilit, allegorical and CGI enhanced indie docufeature film, ANGEL-A (2005).


‘Je t’aime.’


Indeed, the resemblance to Lucas of the down and out Andre Moussah and his guardian angel, Angela-played by Jamel Debouze and Rie Rasmussen, respectively-implied a sympathetic interest in Lucas and his film art throughout the film.  The resemblance of the beautiful, blonde, tall and leggy Angela to Leeloo also reaffirmed the implicit interest in Lucas and his film art in THE FIFTH ELEMENT.  Thus, the sight and sound of Andre preventing Angela from returning to heaven on angel wings after saving his life implied the hope of Besson that Lucas would not give up on his film art despite the criticism from audiences and film reviewers that was being heaped on the STAR WARS Tragic Trilogy at the time.  In addition, the fact that Andre was a Franco-American of Algerian descent, the film’s black and white film stock and elegiac tone also implied the sad understanding that the 911 disaster had shockingly begun a new era of film art as implicitly as the black and white film stock of LE DERNIER COMBAT had implied an equally sad understanding that the TZ disaster had shockingly begun a new era of film art.  A new era of CGI enhanced film art that the Daulphin did his best to reaffirm when he returned to theatres with Arbogast and Serra in his next twilit, Ozian themed, CGI enhanced and allegorical indie film, ARTHUR AND THE INVISIBLES (2006).


‘Your heart is your strongest weapon.’


Curiously, a brief prologue introduced us to Arthur and his grandmother-played by Freddie Highmore and Mia Farrow, respectively, the latter linked forever to the year of the release of TWILIGHT ZONE: THE MOVIE by her role as Dr. Eudora Nesbitt Fletcher in Woody Allen’s implicitly Landis blasting and brutally satirical allegorical masterpiece, ZELIG (1983)-and their desperate quest to find enough money in forty-eight hours to pay off Adam Lefevre’s vaguely Spielberg-like and money obsessed Davido and save the house and land of missing husband and grandfather, Archibald-who resembled an older Jolivet, and was played by Rob Crawford.  The rest of the film then followed Arthur’s adventures in an Oz-like CGI wonderland filled with dimunitive and pixie-like Minoys caught in the twilit grip of the gleefully insidious and perhaps Spielberg linked Maltazard the Evil-played by David Bowie-who looked like a Neimoidian from the new STAR WARS Tragic Trilogy.  Given that Arthur freed the Minoys from Maltazard’s twilit grip, liberated Archibald from a jail in Maltazard’s Necropolis and returned with Archibald back to reality with a fortune in red rubies that evoked the ruby red slippers from THE WIZARD OF OZ that were just what were needed to pay off the money obsessed Davido and save the house and farm, Besson again implied that CGI enhanced film art in general and his CGI enhanced film art in particular would survive and triumph over the TZ disaster. 


Indeed, by using CGI to literally transform Arthur into a dimunitive CGI Minoy avatar named Art during his triumphant time in the land of the Minoys, Besson openly affirmed his hope that his CGI enhanced film art would triumph over all other film artists and reaffirm that he was indeed the Daulphin, in the defiant end.  For his part, in the sight and sound of the implicitly Kubrick linked boy, Marcus-played by Frankie and George McLaren-bringing together the implicitly Besson and Lynch linked Marie Lelay and George Lonegan-played by Cecile De France and Matt Damon, respectively-both of whom had returned to life after dying, Clint Eastwood implicitly urged Besson and Lynch, both of whom had returned to popularity after failed films, to end their feuding at the end of his twilit, allegorical and CGI enhanced film, HEREAFTER (2010), an implicit intent affirmed by the film’s allusions to EYES WIDE SHUT, THE MESSENGER and the twilit and allegorical Lynch film, THE STRAIGHT STORY (1999).  As for the Daulphin, he left CGI enhanced film art behind when he returned with Arbogast and Serra with another legendary human heroine in his next allegorical and indie docufeature film, THE LADY (2011).


‘The fight goes on.’


Indeed, the resolute and determined political battle of Aung San Suu Kyi-played by Michelle Yeoh-to unite and free Burma/Mynamar of its military thugs by peaceful political means and establish a freedom loving democracy evoked the equally resolute and determined military battle of Joan of Arc to unite and free her country of English thugs in THE MESSENGER.  The sight of Suu Kyi’s English Oxford professor husband, Doctor Michael Aris-played by David Thewlis-helping her in her battle also evoked the sight of Korben helping Leeloo save the world in THE FIFTH ELEMENT.  Curiously, however, Michael resembled and was implicitly linked to Lynch rather than Lucas, and he also died of prostrate cancer, in the end.  However, despite the loss of her English soul mate from another world, Suu Kyi remained in Burma, just as committed to freeing her people from tyranny as ever, and eventually succeeded.  Thus, Besson implied that he was rallying to the defense of Lynch again as in SUBWAY, probably for the roasting Lynch received for his twilit and allegorical moving painting, INLAND EMPIRE (2006), and assuring Lynch that his film art for film art’s sake moving paintings would triumph over, and still be remembered, long after more commercial film artists like Spielberg had been forgotten.  Indeed, allusions to INLAND EMPIRE affirmed the implicit intent of THE LADY. 


Curiously, as he had done after THE BIG BLUE and THE FIFTH ELEMENT, the Daulphin then exchanged heady cinematic heights and a peace loving family of four for dark cinematic depths and a violence loving family of four when he rejoined Arobgast to implicitly roast the Cronenberg family in the twilit, allegorical, CGI enhanced and darkly humourous indie docufeature film, THE FAMILY (2013), with a soundtrack by Evgueni and Sacha Galperine this time instead of Serra.


‘Who the hell asked you to be popular?’


        Indeed, the matter of factly violent Manzoni family-comprised of Giovanni, Maggie, Belle and Warren, played by Robert De Niro, Michelle Pfeiffer, Dianna Agron and John D’Leo, respectively-an American mafia family on the run from the mob and in witness protection hiding in France, was implicitly linked to the cinematic violence loving family of David, Carolyn, Caitlin and Brandon Cronenberg throughout the film.  Indeed, the fact that the mob family that was after the Manzonis was led by the William S. Burroughs resembling and implicitly linked Don Luchese-played by Stan Carp-affirmed the film’s implicit Cronenberg addressing intent, for it reminded us that the twilit, allegorical and implicitly Lynch roasting Cronenberg film, NAKED LUNCH (1991), was based on the gleefully obscene and allegorical Burroughs compilation, Naked Lunch (1959).  The film’s allusions to the twilit and allegorical Cronenberg films, A HISTORY OF VIOLENCE (2005) and EASTERN PROMISES (2007), reaffirmed the implicit Cronenberg addressing intent of THE FAMILY.  Indeed, the sight and sound of the Manzoni family hiding in France as part of a witness protection programme reaffirmed the film’s implicit interest in Cronenberg, for it evoked the sight and sound of ex-gangster Joe Cusack-played by Viggo Mortensen-hiding away from his gangland past and ex-associates under a witness protection programme under the new name of Tom Stall with another three member family in A HISTORY OF VIOLENCE.


Curiously, creating THE FAMILY must have invigorated the Daulphin, for he quickly teamed up again with Arbogast, Serra, THE FAMILY costume designer Olivier Beriot, new producer and wife Virginie Besson-Silla, and editor Julien Rey and production designer Hughes Tissandier-both from THE FAMILY-and returned to the Temple Theatre with another character implicitly linked to Cronenberg who helped out another unusually powerful and resolute heroine linked to France in his next twilit, CGI enhanced and allegorical docufeature indie film, LUCY (2014).


‘Ignorance breeds chaos, not knowledge. 

I’ll build a computer,

and download all my knowledge.’


Indeed, the film began in Taipei, Taiwan, a city that was shot in such a way as to evoke Toronto and its film art and film artists like Cronenberg.  The film’s implicit interest in Toronto and its film art and film artists was reaffirmed when we found ourselves outside the Tai Pan Hotel with the eponymous Lucy and her cowboy hat wearing ‘friend’, Richard-played by Scarlett Johansson and Pilou Asbaek, respectively.  For Richard resembled and was implicitly linked to the cowboy hat wearing Toronto film artist ‘outlaw’, Bruce McDonald, while Lucy was linked to red and white Maple Leaf flag colour combinations throughout the film like the implicitly Cronenberg linked Dr. Laurence throughout THE BIG BLUE.  Unfortunately for Lucy, Richard took advantage of her naivety to get her to take a briefcase containing an extrasensory power (ESP) enhancing drug called CPH4 to a Mr. Jones evoking gang leader named Mr. Jang-played by Choi Min-Sik-to his Royal Suite in the Tai Pan Hotel.  Curiously, these scenes were intercut with scenes of two cheetahs stalking and killing a wildebeest on the African veldt, scenes that evoked a similar scene involving one cheetah stalking prey at the beginning of the twilit and allegorical Sir Scott film, THE COUNSELOR (2013), thus implicitly linking the sad eyed and unsmiling Mr. Jang to the sad eyed and unsmiling Sir Scott.  Allusions to the twilit and allegorical Sir Scott film, BLACK RAIN (1989), and the twilit and allegorical Sir Scott and Tony Scott executive produced Kevin Macdonald film, LIFE IN A DAY (2010), reaffirmed the film’s implicit interest in Sir Scott. 


Significantly, the allusions to THE COUNSELOR not only reaffirmed the film’s implicit interest in Toronto film art and film artists, but also implied an interest in Toronto film ‘scholars’.  For THE COUNSELOR was a cynical film that implicitly roasted Cronenberg and McDonald in the implicit forms of Reiner and Westray-played by Javier Bardem and Brad Pitt, respectively-and implicitly warned the poor ol’ Gardevil that he was as naïve and foolish to get involved with Hollywood and the Toronto International Film Festival (TIFF) as Michael Fassbender’s eponymous and implicitly Wright linked Counselor was to get involved with a Colombian drug cartel and the malignant and implicitly TIFF linked Malkina-her name evoking ‘bad kino’, and played by Cameron Diaz.  Thus, as Lucy’s initial naivety evoked the initial naivety of the Counselor, the implication was that Lucy was implicitly linked to Wright like the Counselor.  Indeed, the name of Lucy was openly linked to the allegorical Beatles tune, ‘Lucy In The Sky With Diamonds’ (1967), openly linking her to the year of my birth in an affirmation of her implicit link to me.


However, unlike the Counselor, Lucy did not lose her fight with her thugs.  For the embattled Gacy was helped to triumph over Mr. Jang and his Jangalore gang-one of whom resembled Canadian actor Adam Beach, to reaffirm the film’s implicit interest in Canadian film art and film artists-by Morgan Freeman’s implicitly Cronenberg linked Doctor Samuel Norman, the American lecturer in neuroscience and evolution at a Paris university, reaffirming the film’s implicit interest in Toronto film art, film artists and film ‘scholars’.  Indeed, Norman’s implicit link to Cronenberg was affirmed by his wistful obsession with evolved human beings capable of astounding feats of ESP, for his wistful obsession evoked the interest in equally evolved, ESP mastering and ‘omnisexual’ humans in the film art of Cronenberg, particularly the ‘super scanner’ Cameron Vale-played by Stephen Lack-who was mentored by the Dr. Norman evoking Dr. Paul Ruth-played by Patrick McGoohan-in the eerily and presciently twilit and allegorical Cronenberg film,  SCANNERS (1980).  In fact, CPH4 evoked the scanner inducing drug ephemerol-implicitly linked to the ephemeral fortune and glory lusted after by lesser film artists-in SCANNERS, affirming the implicit interest in that film in LUCY.  Lucy’s ability to see into the past and future of other people as the film wore on, particularly when she touched them, reaffirmed the film’s implicit interest in Cronenberg, for it recalled similar abilities developed by the implicitly Lynch linked John Smith-played by Christoper Walken-after a car accident in the twilit and allegorical Cronenberg film, THE DEAD ZONE (1983). 


Significantly, the CPH4 was stored in four neon blue plastic packages in the briefcase, a briefcase opened with the three number combination 140, a combo that fittingly added up to five.  A fitting fifth number, indeed, for the four packages of CPH4 in the briefcase evoked the case that held the four elements in THE FIFTH ELEMENT, preparing audiences for Lucy being transformed from a normal and implicit Canuck into an indomitable fusion of Leeloo and Nikita when one of the drug packages sewn inside her stomach by Mr. Jang began to leak and evolved her, giving her the ESP to see and understand the links between everything and become one with the brave new world of CGI enhance film art.  The CPH4 also gave Lucy the ESP needed to fight off Mr. Jang and his Jangalores and hunt down and capture the other three packages of CPH4, a battle that evoked Leeloo’s battle with Zorg and the Mangalores for the four elements in THE FIFTH ELEMENT and ended in Paris.


This Parisian ending reaffirmed the implicit interest in Cronenberg in LUCY, for the sight and sound of Lucy becoming more human than human when she reached her 100% evolved potential with the intravenous help of all four of the elemental bags of CPH4 jacked into her system at once-leaving her centred between them like Leeloo centred between the four elements at the end of THE FIFTH ELEMENT-and triumphing over Mr. Jang with CGI enhanced ESP evoked the triumph of Vale over Michael Ironside’s implicitly Nicholas Meyer linked Darryl Revok at the equally extrasensory end of SCANNERS.  This ending also reaffirmed the implicit link of Lucy to the poor ol’ Gardevil, as it evoked the ending of the twilit, allegorical and CGI enhanced Kimberly Peirce film, CARRIE (2013), which saw Chloe G. Moretz’s implicitly Wright linked Carrie White wiping out antagonists implicitly linked to Diablo Cody and Jason Reitman with her CGI enhanced ESP. 


The sight and sound of Lucy becoming one with the knowledge of the multiverse and downloading all of her insights onto a black USB key that could be used to upload these insights onto the internet before she disappeared like Nikita, in the triumphant end, also reaffirmed her implicit link to the poor ol’ Gardevil, as it evoked the ‘insights’ into the fiction and film art of the dread allegorical Zone Wars that I regularly uploaded onto the internet.  As the triumph over Mr. Jang and his Jangalores was accomplished with the help of CGI, Lucy, like Leeloo, also symbolized the brave new world of CGI enhanced film art triumphing over the TZ disaster and freeing audiences, film art, film artists and the Temple Theatre from the Twilight Zone.  Curiously, but fittingly, this heady and transcendent triumph of CGI enhanced film art led by the Daulphin was implicitly addressed that same year when he was implicitly roasted and toasted in the form of Peter ‘Star Lord’ Quill-played by Chris Pratt-in the twilit, allegorical and CGI enhanced super satirical James Gunn film, GUARDIANS OF THE GALAXY (2014).




Indeed, the opening final moments between the boy Quill and his dying and music loving mother, Madeline ‘Maddie’ Quill-played by Wyatt Cleff and Laura Haddock, respectively-in a hospital on Earth in 1988 evoked the final moments between Dallas and the dying opera singer Diva Plavalaguna on the space cruise ship orbiting Fhloston Paradise in THE FIFTH ELEMENT, immediately affirming the film’s implicit interest in Besson.  The spaceship that unexpectedly arrived and spirited young Quill away from Earth as he fled the hospital in tears after the death of his mother reaffirmed the film’s implicit interest in the Daulphin and THE FIFTH ELEMENT, for it evoked the equally unexpected arrival and departure of the Mondoshowan Guardians of the Four Elements in their biomechanical spaceship at the Egyptian temple beginning of THE FIFTH ELEMENT. 


The jump to twenty-six years in the future in orbit around ‘…an abandoned planet’ called Morag also affirmed the film’s implicit interest in Besson, for it reminded us that THE FIFTH ELEMENT began in orbit around Earth.  This implicit interest continued on the devastated surface of Morag, for in another RAIDERS OF THE LOST ARK evoking prologue, Star Lord recovered a mysterious Orb in a temple.  This Orb turned out to contain the blue space stone, one of the all powerful six Infinity Stones, six stones that evoked the four stones containing the power of the four elements in THE FIFTH ELEMENT.  The fact that the Leeloo evoking Gamora and her sister, the Nikita evoking Nebula-implicitly linked to Lilly and Lana Wachowski given the allusions to the Matrix Trilogy whenever they were around, and played by Zoe Saldana and Karen Gillan, respectively-soon showed up in hot pursuit of Quill and the Orb reaffirmed the implicit link of Star Lord to Besson.


Thus, the sight of Star Lord, Gamora and the implicitly Guillermo Del Toro linked Drax the Destroyer, the implicitly Alan Moore linked Groot and the implicitly Zack Snyder linked Rocket Raccoon-played by Dave Bautista, Vin Diesel and Matthew Cooper, respectively-taking on and taking out the power mad Ronan the Accuser and his head lackey, Khorath-implicitly linked to Roland Emmerich and his spouse, Omar De Soto, and played by Lee Pace and Djimon Honsou, respectively-and stripping him of the blue space stone he had taken from Quill in an awesome Force releasing end that evoked the end of THE FIFTH ELEMENT, implied the hope of Gunn that the Daulphin would continue to lead the way in creating CGI enhanced indie film art to advance higher goals than the acquisition of power and wealth-a mordantly ironic implication, indeed, given that the beastly blockbuster loot lusters behind the film at Disney and Marvel led by Disney CEO Bob Iger were using GUARDIANS OF THE GALAXY and the rest of the films of the Marvel Cinematic Universe (MCU) to fleece as much money out of global audiences as possible. 


A macabrely ironic implication not missed by the Daulphin, for an implicit interest in replying to GUARDIANS OF THE GALAXY was fused with a continued implicit interest in Toronto, its film art, film artists and film ‘scholars when the Daulphin returned with Arbogast, Beriot, Besson-Silla, Rey and Tissandier-and with visual effects again by ILM, who had provided them for LUCY, and a MCU evoking soundtrack by Alexandre Desplat-to prove that he had the heavy mettle indeed and increased CGI powers to top THE FIFTH ELEMENT in its twentieth anniversary year and implicitly affirm that the daylit and brave new world of heady, enlightened, liberated and CGI enhanced film art hoped for at the end of LUCY and THE FIFTH ELEMENT had arrived in the fully digital, CGI enhanced and truly higher minded and fantastic allegorical indie film, VALERIAN AND THE CITY OF A THOUSAND PLANETS (2017), inspired by narrative art created by Pierre Christin and Jean-Claude Mezieres and perhaps also by the promise that Nebula made to Ronan toward the end of GUARDIANS OF THE GALAXY that if he killed her father, the implicitly Michael Eisner linked mad Titan, Thanos-played by Josh Brolin-she would help Ronan ‘…destroy a thousand planets’. 


‘Liho-Minaa chose you to be

the guardian of her soul.’


Indeed, an implicit link to Ontario, and, hence, Toronto and its film art, film artists and film ‘scholars’ was immediately made in the prologue of VALERIAN AND THE CITY OF A THOUSAND PLANETS, which saw the Alpha space-station city being assembled in orbit above Earth-a sight that reminded us that THE FIFTH ELEMENT also began in Earth orbit.  For as the intergalactic Alpha space station-city was created over the decades with the help of terrestrials and extraterrestrials-including amongst the latter a Mondoshowan resembling race called the Mirrors-and the credits rolled, played was the allegorical Bowie song, ‘Space Oddity’ (1969).  The song reminded us that Ontario born and raised Canadian astronaut Chris Hadfield famously filmed a strange music video of himself strumming the guitar and singing ‘Space Oddity’ on his last trip to the International Space Station, openly linking the film and Alpha to Ontario and implicitly to its film art, film artists and film ‘scholars’. 


Curiously, after the Alpha space station-city became too huge to orbit Earth as a result of intergalactic immigration and was sent off into space to be an Emerald City of a Thousand Planets by the President of the World State Federation-played by Hauer, who linked the film to the twilit and disastrous year of 1982 via his role as Batty in BLADE RUNNER-the POV shifted to the peaceful, mystic, transcendent and Flhoston Paradise evoking tropical island paradise-like brave new CGI enhanced world of Mul which evoked the tiny CGI world of the Minoys in ARTHUR AND THE INVISIBLES.  Significantly, the first of the CGI enhanced Pearl inhabitants of Mul met by audiences was the pretty and illuminating Princess Liho-Minaa-played by Sasha Luss-who was immediately linked to Lucy by a close-up of one of her eyes, which evoked similar close-ups of one of the eyes of Lucy in LUCY.  This was a fitting link, for Princess Liho-Minaa was at one with the world of Mul and the brave new world of CGI enhanced film art as Lucy was with Earth and with the brave new world of CGI enhanced film art by the time she had reached 100% of her ESP potential at the end of LUCY.  Indeed, the pretty Princess and her fellow Pearl lived in peaceful and non-commercial harmony with their CGI enhanced world with the help of small but powerful pearls fished from the sea that evoked the equally powerful Orb containing the space stone in GUARDIANS OF THE GALAXY, and cute and cuddly converters that pooped out showers of everything they were fed, with no interest in using these converters for profit on the part of the Pearl. 


Significantly, the implicit link of Liho-Minaa to Lucy was affirmed when she projected her soul across the galaxy shortly before she was killed by a planetary apocalypse that swept Mul when an unexpected space battle caused a huge and Mondoshowan evoking biomechanical starfish resembling spaceship to crash into the planet, a sight and sound which evoked the space battle that led to Ronan the Accuser’s equally huge spaceship, the Dark Aster, to crash on the planet Xandar at the end of GUARDIANS OF THE GALAXY.  For Liho-Minaa’s projection of her soul reminded us that Lucy left all of her insights into planet Earth and the universe on a black USB key shortly before she too disappeared at the end of LUCY.  Of course, as Lucy was implicitly linked to Gary in LUCY, the implicit link of Liho-Minaa to Lucy also implicitly linked Liho-Minaa to Gary. 


Curiously, the Gunn resembling and implicitly linked crack Alpha space-station city Major Valerian-played by Dane DeHaan-woke up from a dark and terrible nightmare like ex-Major Dallas in THE FIFTH ELEMENT to find that he had received the soul of Princess Liho-Minaa, implicitly linking him to the poor ol’ Gardevil as well and filling him with the pure soul of CGI enhanced film art.  Thus, the sight and sound of Maj. Valerian and his intrepid partner, Sergeant Laureline-played by Cara Delevingne-spending the rest of the film tracking down and confiscating a stolen Mul converter and one of the planet’s tiny but powerful pearls from the blockbuster loot lusting and CGI enhanced Big Market on the planet Kyrian and returning them to a group of mystic survivors from Mul hidden on the Alpha space station-city so that these survivors could recreate their brave new CGI world on a spaceship and blast out of Alpha on their own indie path like a bat out of hell in defiance of the implicitly Iger linked human Commander of Alpha, Arun Fillit-played by Clive Owen-in the end, implied the hope of the Daulphin that the insights of Wright would help film artists such as Gunn successfully kick off a daylit and brave new era of indie CGI enhanced film art for CGI enhanced film art’s sake rather than for blockbuster loot’s sake.


Indeed, the resemblance of Delevingne to Charlize Theron’s implicitly Gardevil linked Mavis Gary in the implicitly Wright roasting Jason Reitman film, YOUNG ADULT (2011), reaffirmed the implication that the poor ol’ Gardevil was being addressed in VALERIAN AND THE CITY OF A THOUSAND PLANETS.  The choice of Delevingne definitely linked the film to Toronto and its film art, film artists and film scholars, for she was linked forever to the city via her role as the implicitly Suzy Amis linked Doctor June ‘Enchantress’ Moone in the Toronto created, twilit, allegorical, and CGI enhanced David Ayer super satirical film, SUICIDE SQUAD (2016).  The fact that the film was based on an allegorical work of narrative art by Pierre Christin and Jean-Claude Mezieres called VALERIAN that was like a cross between ASTERIX and BARBARELLA and that first appeared in the 9 November 1967 issue 420 of PILOTE also supported the implication that the film was allegorically addressing me, given that I was born in 1967.


Significantly, Valerian and Laureline were also implicitly linked to Cronenberg.  For the brave new world of CGI was recreated in a dead red zone that again evoked THE DEAD ZONE that was discovered in the fifth elemental centre of the four sectors of the Alpha space station-city-literally, as the four sectors of alpha were linked to Earth, Fire, Air and Water.  Curiously, a Lynch resembling General Okto-Bar-played by Sam Spruell, who had also played the implicitly Lynch linked Jamie in THE COUNSELOR-helped Valerian and Laureline fight off the insidious Commander Filitt-played by Clive Owen-and save the survivors of Mul and their brave new CGI enhanced world, and, hence, CGI enhanced film art, in another sympathetic nod to Lynch in a Besson film. 


For his part, Gunn implicitly and fittingly roasted and toasted the Daulphin again that year in the form of the pelvic entrancing Peter ‘Star Lord’ Quill-played again by Pratt-who joined his fellow Guardians-including Drax, Gamora, Groot, Nebula, Rocket Raccoon and the implicitly Mina Shum linked Mantis, played by Bautista, Saldana, Diesel, Gillan, Cooper and Pom Klementieff, respectively-in a triumph over the implicitly Bigelow linked High Priestess Ayesha-played by Elizabeth Debicki-and the raging and implicitly Lucas linked Ego-played by Kurt Russell-at the end of the allegorical and CGI enhanced super satirical film, GUARDIANS OF THE GALAXY VOL. 2 (2017)-no surprise there, given that Besson’s implicit ode to Lucas in THE FIFTH ELEMENT was more creative, funny, human, liberating, memorable and wholly remarkable than the entire STAR WARS Tragic Trilogy.  Indeed, the revelation that Quill was part human and part alien Ego reaffirmed his implicit link to the Daulphin, for it evoked his fondness for Lucas and his fused Franco-American film art style.


Curiously, DC and Snyder also implicitly linked the Daulphin to Arthur ‘Aquaman’ Currie-played by Jason Momoa-and had him fight alongside another group of implicitly film artist linked superheroes in another desperate and successful struggle to save the world in the twilit, allegorical and CGI enhanced super satirical film, JUSTICE LEAGUE (2017), an implication affirmed by the film’s allusions to THE BIG BLUE.  Then Quill, Gamora, Nebula, Drax, Rocket, Mantis and Groot-played again by Pratt, Saldana, Gillan, Bautista, Cooper, Klementieff and Diesel, respectively-rejoined their fellow Guardians and the dissembling Avengers in a desperate battle to free the universe from the insidious grip of the acquisitive and power mad Thanos-played again by Brolin-in the allegorical and CGI enhanced Anthony and Joe Russo super satirical film, AVENGERS: INFINITY WAR (2018). 


Significantly, despite the fact that Star Lord faded away at the end of the film, the Russo Brothers also implied with Quill’s participation in the fight against Thanos their hope that the Daulphin and his film art would help liberate film art from the Twilight Zone at last and usher in a daylit and CGI enhanced new era of transcendent, mystic and love filled film.  James Wan implicitly shared their hope, for he again implicitly linked the Daulphin to Arthur ‘Aquaman’ Currie-played again by Momoa-and had him save Atlantis and its film art-thank God!-with the help of the Leeloo evoking Princess Mera-played by Amber Heard-in the twilit, allegorical, CGI enhanced super satirical film, AQUAMAN (2018), an implication affirmed by the film’s allusions to THE BIG BLUE and THE FIFTH ELEMENT.  A super rescue of the world and its film art repeated when the time travelling jackanapes of the twilit, allegorical and CGI enhanced Russo Brothers super satirical film, AVENGERS: ENDGAME (2019), allowed Quill-played again by Pratt-and his fellow Guardians to return and help do exactly that with the triumph over Thanos-played again by Brolin-and his mad minions at the end of that film. 


All of which implicitly inspired Besson to team up with Arbogast, Serra, Eric Lampaert-who played the implicitly Tim Burton linked Thaziit in VALERIAN AND THE CITY OF A THOUSAND PLANETS-and Jan O. Schroeder-who played a German drug mule in LUCY-on the twilit and CGI enhanced allegorical indie docufeature film, ANNA (2019), a film that came across as a fusion of LA FEMME NIKITA and the eerily twilit and allegorical Slava Tsukerman film, LIQUID SKY (1982) and the twilit, allegorical and CGI enhanced David Leitch film, ATOMIC BLONDE (2017). 


‘Check mate.’


Indeed, the sight and sound of poor Russian waif, Anna-played by Sasha Luss-working as a peroxide blonde Parisian model before turning into a killer for the KGB and then the CIA evoked the sight and sound of poor American waif, Margaret-played by Anne Carlisle-working as a peroxide blonde New Wave model in New York before turning into an extraterrestrial drug fiend assisted killer in LIQUID SKY and the sight and sound of the equally indomitable, peroxide blonde and implicitly Sofia Coppola linked British secret service, CIA and KGB assassin, Lorraine Broughton-played by Charlize Theron-in ATOMIC BLONDE.  Curiously, ANNA also had a chronology as wacky as one of the first drafts of a Zone War essay, implying that Besson was wrapping up a Gardevil Trilogy by implicitly linking Anna to the poor ol’ Gardevil.  However, given that one of Anna’s first hits was a Gardevil resembling ‘…international man of mystery’ named Oleg-played by Andrew Howard-and given that Anna’s crotchety KGB supervisor, Olga-played by Helen Mirren-evoked the equally crotchety Margaret Atwood, perhaps Anna was implicitly linked to Mary Harron, given that not long before the release of ANNA, Harron directed the Sarah Polley adapted and co-produced, allegorical and implicitly Gardevil addressing telefilm series, ALIAS GRACE (2017), inspired by the allegorical Atwood novel, Alias Grace (1996), and given that she looked more like Harron than Polley and that the film evoked such allegorical and CGI free Harron films as the implicitly Cameron addressing film, AMERICAN PSYCHO (2005), and the implicitly Bigelow addressing film, THE NOTORIOUS BETTIE PAGE (2006). 


At any rate, given that Anna outfoxed and broke free from the capitalist CIA and the anti-capitalist KGB, in the end-unlike Broughton, who stood revealed as the notorious Cold War triple agent, Satchel, and flew back to the U.S. with her CIA supervisor, the implicitly Francis Coppola linked Emmet Kurzfeld (played by John Goodman) at the end of ATOMIC BLONDE-Besson implicitly urged either Harron, Polley or the poor ol’ Gardevil to break free from twilit forces and stick to their lonesome indie path.  And so Besson did his best to triumph over all Anglophone and Francophone film artists yet again and liberate audiences, film art, film artists and the Temple Theatre from the twilight in order to stand revealed in the daylight of a bold new CGI enhanced film art era as the Franco-American film artist best known as…the Daulphin.








Christin, Pierre and Jean-Claude Mezieres.  Valerian : the

        complete collection-volume 1.  Canterbury, UK: Cine-

        book, 2017.


Edwards, Graham.  ‘Symphony of Color’.  cinefex.  Riverside,

        CA: Cinefex LLC, 2017.


Salisbury, Mark.  Valerian And The City Of A Thousand

        Planets: the art of the film.  London: Titan Books, 2017.