The Fifth Element

The Fifth Element

Company type	Film
Industry	Motion picture
Founded	1997
Founder	Luc Besson
Products	Science fiction action movie

The Fifth Element () is a 1997 French science-fiction action movie presented in English, directed by Luc Besson and co-written by Besson alongside Robert Mark Kamen. The cast includes Bruce Willis, Milla Jovovich, Gary Oldman, Ian Holm, and Chris Tucker. Set in the 23rd century, the storyline follows Korben Dallas (Willis), a former special forces major turned taxi driver, who partners with Leeloo (Jovovich) to locate four mystical stones essential for safeguarding Earth against an impending cosmic menace.

Besson conceived the story at age 16 and finalized it at 38. Although initially planning to film in France, production was relocated to London and Mauritania due to limitations with local facilities. The film’s production design drew inspiration from comic artists Jean "Moebius" Giraud and Jean-Claude Mézières. Costume designs were crafted by Jean Paul Gaultier.

The movie garnered generally favorable critiques and received accolades at the 51st British Academy Film Awards, 23rd César Awards, Cannes Film Festival, and Lumière Awards. Conversely, it also attracted unfavorable nominations, including at the 18th Golden Raspberry Awards. Financially, The Fifth Element achieved significant success, earning over US$263 million globally on a $90-million budget. Upon release, it held the distinction of being the most costly European film produced and remained the highest-grossing French film worldwide until The Intouchables surpassed it in 2011.

Plot

In 1914, extraterrestrials known as Mondoshawans rendezvous with their Earth contact—a priest from a secretive order—within an ancient Egyptian temple. They secure the sole weapon capable of defeating a recurring great evil that emerges every 5000 years, vowing to safeguard it and return it before the evil’s resurgence. This weapon comprises four inscribed stones symbolizing the classical elements, along with a sarcophagus containing a mysterious "fifth element."

Fast forward to the 23rd century: the great evil manifests as a colossal living fireball that destroys an armed spacecraft en route to Earth. Priest Vito Cornelius briefs the Federated Territories' president on the evil's history and the weapon designed to halt it.

A Mondoshawan vessel transporting the weapon is ambushed and obliterated by Mangalores—alien mercenaries employed by Earth industrialist Jean-Baptiste Emanuel Zorg, an agent serving the great evil. A severed armored hand from the wreckage is delivered to New York City, where advanced biotechnology reconstructs Leeloo, a humanoid woman originating from the sarcophagus who gradually recalls her past existence. Disturbed by her environment, she escapes and collides with Korben Dallas's flying taxi. Dallas, once a special forces major, brings Leeloo to Cornelius and his apprentice David, who identify her as the fifth element.

Leeloo discloses that the stones were not aboard the Mondoshawan ship. The Mondoshawans inform Earth's authorities that alien opera singer Plavalaguna was entrusted with safeguarding the stones. Zorg eliminates some Mangalores after they fail to retrieve them. The military dispatches Dallas undercover to meet Plavalaguna via a staged radio contest granting him a luxury vacation on a flying hotel orbiting planet Fhloston, accompanied by eccentric talk-show host Ruby Rhod. Discovering Leeloo shares his mission, Dallas permits her to accompany him. Cornelius clandestinely boards the ship while David prepares the temple for arrival. Meanwhile, Mangalores infiltrate the vessel illegally.

During Plavalaguna's performance, Mangalores attack and kill her. Dallas recovers the stones from her body and kills their leader, compelling their surrender. Zorg shoots Leeloo before activating a time bomb and fleeing with an empty container he believed held the stones. As Zorg’s bomb initiates evacuation procedures, Dallas escapes alongside Leeloo, Cornelius, Rhod, and the stones aboard Zorg’s ship. A dying Mangalore detonates another bomb that destroys the hotel and kills Zorg.

As the great evil approaches Earth, they rendezvous with David at the temple and deploy the stones. Having lost hope in humanity due to its cruelty, Leeloo relinquishes her will to live until Dallas professes his love and kisses her. She harnesses the combined power of the stones to unleash a divine light that vanquishes the great evil. Dallas and Leeloo are celebrated as heroes and share an intimate embrace while dignitaries await their recovery.

Themes

Luc Besson characterized The Fifth Element not as a film centered on a grand theme, but one conveying a significant message, notably expressed when Leeloo questions, "What’s the point of saving life if you consider what you do with it?" The narrative addresses issues of political corruption and offers a critical perspective on consumer culture, particularly embodied in Zorg’s fixation on technology.

From a feminist viewpoint, the movie highlights gender-related motifs, pointing out the early depiction of women in constrained and passive roles, often portrayed through sexualization or diminished femininity. Male figures frequently exhibit traits considered unmasculine—such as Ruby Rhod’s effeminacy and General Munro’s ineptitude—creating a contrast with Korben Dallas’s portrayal of traditional heroic masculinity.

Susan Hayward interprets the film as a classic hero’s journey: Korben separates from his community, confronts evil forces, and ultimately attains love and protection. The romantic subplot mirrors the urgency of the central storyline. Additionally, the film tackles environmental concerns by showcasing pollution and waste within its futuristic world, emphasizing human accountability rather than technological dominance.

In summary, The Fifth Element offers a critique of capitalist consumerism and explores the conflict between technology and humanity, implying that this tension demands resolution.

Development

Besson first imagined The Fifth Element during his adolescence as a way to combat boredom, beginning to write the script at age 16 with initial intentions to develop it as a novel. The movie premiered when he was 38 years old. Set in the year 2300, it follows Zaltman Bleros (later renamed Korben Dallas), who wins a trip to Club Med on the planet Fhloston Paradise, where he encounters Leeloo—a "sand-girl" possessing youthful beauty despite her age exceeding 2,000 years.

Besson dedicated several years to developing the story; by 1991, alongside his documentary Atlantis, he had completed a 400-page screenplay. Early backing came from Gaumont executives Nicolas Seydoux and Patrice Ledoux. In November 1991, during casting efforts, Besson enlisted French comic artists Jean Giraud and Jean-Claude Mézières for production design. Their graphic novels significantly influenced the depiction of the futuristic New York City featured in the film.

Designs

Jean-Claude Mézières had previously created The Circles of Power (1994), which included a character named S'Traks who pilots a flying taxi amid the crowded skies of Rubanis. Mézières shared these flying taxi visuals with Besson, inspiring him to alter Korben Dallas’s backstory from a rocket factory worker to a taxi driver operating in a Rubanis-inspired futuristic New York. Besson’s production team expanded with five additional artists and enlisted fashion designer Jean Paul Gaultier for costume creation. Over the course of one year, they produced more than 8,000 sketches.

Casting

Initially, Besson approached Bruce Willis, Mel Gibson, and considered Julia Roberts for the role of Leeloo. Willis showed interest but was cautious due to past box office underperformances; Gibson declined involvement. Despite remarkable design work, studios hesitated to fund the nearly $100 million budget. Production ceased abruptly in December 1992, leading to disbandment of the team.

Following his success directing Léon: The Professional (1994), Besson continued refining The Fifth Element screenplay and managed to reduce its budget to $90 million. Columbia Pictures, which partnered on Léon, agreed to finance this project. To economize further, Besson opted for a lesser-known actor in the lead role. When Willis contacted Barry Josephson about another venture, Besson took the opportunity to update him on The Fifth Element. Willis responded, "If I like the film, we can always come to an arrangement." After reviewing the script, Willis accepted the part.

Filming

The production phase commenced in early August 1995. Besson conducted casting sessions across Paris, London, and Rome, selecting Gary Oldman—known from Léon—to portray Zorg, whom he described as "among the top five actors worldwide." For the role of Leeloo, Besson chose Milla Jovovich from a pool of 200 to 300 candidates. He developed a 400-word imaginary "Divine Language" specifically for Leeloo, which both he and Jovovich rehearsed through dialogues and written correspondence. At the outset of filming, Besson was married to Maïwenn le Besco, who portrayed the Diva Plavalaguna; however, during production, he ended that marriage to be with Jovovich. The couple later wed but divorced in 1999.

Due to the absence of appropriate French studio facilities, principal filming was conducted predominantly at Pinewood Studios in London, utilizing seven soundstages including the renowned 007 Stage. Set construction began in October 1995. The opera sequence was filmed at the Royal Opera House, while scenes representing Egypt were shot on location in Mauritania; the initial desert backdrop was captured on 5 January 1996. Actor filming started in late January and extended over 21 weeks; Bruce Willis completed his scenes by 16 May, with Oldman commencing his work the following week—interestingly, lead characters Korben and Zorg never appeared together on screen. Despite being shot in London, The Fifth Element remained a French production and held the distinction of being the most expensive European film at that time.

The depiction of New York’s skyline was inspired by modular apartments characteristic of 1960s metabolist architecture and futuristic concepts from architect Antonio Sant'Elia dating back to the 1910s. Besson insisted that action sequences occur in daylight to maintain a bright and "cheerfully crazy" atmosphere, deliberately avoiding the typical dark aesthetics common in science fiction.

Fashion designer Jean-Paul Gaultier was responsible for creating 900 costumes for extras featured in Fhloston Paradise, personally inspecting each outfit every morning. His designs were described as "intellectually transgressive," challenging conventional notions of sexuality and gender; some garments, like a single jacket, had a price tag of $5,000. Jovovich’s first costume resembled hospital bandages, providing minimal coverage.

Originally named Loc Rhod in early drafts and the novelization, the character Ruby Rhod's name was changed—possibly referencing chemical elements rubidium and rhodium or reflecting Ruby’s gender-fluid persona through a feminine first name paired with a phallic surname. Musician Prince was initially cast for this role but had to withdraw due to scheduling conflicts. Both Chris Tucker and Jamie Foxx were considered before Besson ultimately favored Tucker for his smaller stature.

Effects

The film's special effects were managed by three distinct teams: mechanical and pyrotechnic effects under Nick Allder, creature effects led by Nick Dudman, and visual effects overseen by Mark Stetson. The visual effects company Digital Domain was contracted for digital work, with Karen Goulekas serving as digital-effects supervisor. Digital Domain employed various software tools such as Alias (PowerAnimator), Autodesk Softimage, Arete, Side Effect's Prisms, and RenderMan, along with proprietary technologies. The final shots integrated live-action footage, scale models, CGI elements, and particle systems—for instance, traffic lanes in New York City were generated using particle system techniques.

Scale models featured numerous apartment complexes and 25 skyscrapers reaching heights up to 30 feet at scale. A team of approximately 80 craftsmen devoted five months to assembling these intricate miniatures. Attention to detail extended to windows outfitted with furniture, blinds, illuminated boxes, and miniature artworks—tasks requiring significant labor. Digital virtual sets complemented these physical models within computer-generated environments. Motion-control cameras recorded movements across scale sets; this data then informed computer animations and particle system creations. Additional methods included digital matte paintings for background scenes and NURBS mathematical modeling applied to animations such as Leeloo’s body regeneration sequence.

Music

In The Fifth Element, approximately 90% of the movie features music, showcasing Besson's inherently musical approach. The musical score was created by Éric Serra, who predominantly employed orchestral elements such as oboe and strings during Leeloo's regeneration scenes, and pizzicato techniques during her reconstruction. Serra drew from a variety of styles, including a Stalinist-style fanfare preceding the spaceport sequence, reggae rhythms before the flight scene, and hula melodies greeting visitors in Fhloston. Traditional scoring is evident in the leitmotif associated with the fifth element, militaristic snare drums during the warship assault, and a Mahler-inspired funeral theme when Leeloo discovers the reality of war. The taxi chase features "Alech Taadi" by Algerian musician Khaled, which does not appear on the official soundtrack but is included on Khaled's album N'ssi N'ssi.

The opera segment titled "The Diva Dance" incorporates music from Gaetano Donizetti's Lucia di Lammermoor, specifically "Il dolce suono", the mad scene from Act III, Scene 2. This diegetic performance was sung by Albanian soprano Inva Mula, while French actress Maïwenn Le Besco played the role of Plavalaguna. On the soundtrack, this piece is divided into two parts—Part One labeled "Lucia di Lammermoor" and Part Two as "The Diva Dance"—arranged to mirror the film’s uninterrupted performance with a smooth transition between tracks.

Soundtrack

Issued by Virgin Records, the soundtrack attained position 99 on the Billboard 200 chart and reached number 44 in Canada. Sales in France surpassed 200,000 copies. Rodney Batdorf of AllMusic awarded it three stars out of five, describing it as "diverse and accomplished," effective both within the cinematic context and as standalone music.

Initial screening

The movie debuted on 7 May at the 1997 Cannes Film Festival as its opening presentation. Gaumont organized a 100,000 square foot venue for this occasion, which included a futuristic ballet, a Jean Paul Gaultier fashion show, and fireworks displays. Attendees were given a "Fifth Element" Swatch watch serving as their admission ticket. Gaumont’s investment in this event ranged between $1 million and $3 million, establishing a record expenditure at that time. In North America, distribution was handled by Sony Pictures Releasing via Columbia Pictures.

Box office

Upon release in France, the film entered at number one, earning 55 million Francs ($10 million) in its first week from 527 screens with 1.81 million admissions. This marked a record-breaking opening for a French production and ranked as the country’s second-largest debut after Independence Day. It maintained its top position for seven consecutive weeks. In the United States, it also opened at number one with $17 million during its initial weekend and retained that spot the following week.

Financially, the film proved successful, grossing over $263 million worldwide—almost triple its $90 million production cost. Approximately three-quarters of its revenue originated outside the U.S., ranking it as the ninth highest-grossing film globally that year. In France, it held the record for highest admissions with 7.7 million viewers until The Intouchables surpassed it in 2011 after 16 years. In Germany, it earned the Goldene Leinwand, an award recognizing sales exceeding three million tickets sold.

Critical reception

Opinions among critics about The Fifth Element were notably mixed. Kevin Thomas from the Los Angeles Times described it as an "intricate, even campy sci-fi spectacle" that felt "warmer, more entertaining, and featured some of the most refined, clever production and costume designs imaginable." On the show At the Movies, Roger Ebert and Gene Siskel both gave the film a positive endorsement. Ebert awarded it three stars out of four, commending its vivid visuals while remarking that its 127-minute runtime seemed somewhat lengthy.

Certain reviewers took issue with the film’s extravagant style. Todd McCarthy of Variety labeled it a "mostly unsuccessful European effort to replicate an American-style sci-fi blockbuster," whereas David Edelstein of Slate referred to it as "one of the most unrestrained" movies. Bruce Willis dismissed negative critiques, expressing confidence that they would not impact the movie’s commercial performance.

Chris Tucker’s portrayal of Ruby Rhod generated divided opinions among critics. He earned accolades from the Los Angeles Times and Time, which dubbed him "the summer's most outrageous special effect." Conversely, Josh Winning from Total Film included Tucker's role in his list of "50 Performances That Ruined Movies."

On Rotten Tomatoes, The Fifth Element holds an approval rating based on reviews, with an average score of . The site's consensus reads: "Visually imaginative and exuberantly over-the-top, Luc Besson's The Fifth Element is a captivating piece of pop sci-fi that never takes itself too seriously." On Metacritic, it has a weighted average score of 52 out of 100 from 22 critics, reflecting "mixed or average" feedback. Audience polling by CinemaScore resulted in an average grade of "B" on a scale from A+ to F.

Plagiarism lawsuit

Following the release of The Fifth Element, Alejandro Jodorowsky and Jean Giraud filed a lawsuit against Besson, accusing him of plagiarizing their comic series The Incal. Giraud sought compensation amounting to 13.1 million euros for unfair competition, along with 9 million euros in damages and between 2–5% of the film’s net profits. Jodorowsky claimed 700,000 euros in damages. The court dismissed the case in 2004, concluding that only minimal portions of the comic were utilized and noting that Giraud had been employed by Besson prior to these claims.

Adaptations

In 1997, a novelization based on The Fifth Element screenplay was released by HarperPrism, authored by Terry Bisson. Despite circulating rumors about a sequel entitled Mr. Shadow, Besson clarified in 2011 that he neither planned nor wished to create a follow-up.

In 1998, Gaumont Multimedia tasked Kalisto Entertainment with producing a video game adaptation for PlayStation and PC platforms. The PlayStation version was met with predominantly unfavorable reviews, whereas the PC edition received comparatively better reception. Lauren Fielder from GameSpot described the PlayStation game as "possibly the worst game I have ever experienced," while Doug Perry of IGN criticized its gameplay for lacking engagement.

A racing title named New York Race was launched in 2001. Eurogamer awarded it a score of 6 out of 10, calling it stylish but quickly monotonous, mainly suited for brief gaming sessions.

Accolades

The Fifth Element received a nomination for Best Sound Effects Editing at both the 70th Academy Awards and the 1998 Golden Reel Awards, though it was ultimately surpassed by Titanic on both occasions. The film secured the BAFTA Award for Best Special Visual Effects as well as the Lumière Award for Best Director. It was honored with seven nominations at the César Award ceremony, winning three awards: Best Director, Best Cinematography, and Best Production Design. Additionally, it was considered for Film of the Year at the 1997 European Film Awards, along with nominations for the Hugo Award for Best Dramatic Presentation and the Satellite Award for Best Visual Effects. For his contributions to this project and She's So Lovely, Thierry Arbogast earned the Technical Grand Prize at the 1997 Cannes Film Festival.

The movie garnered four nominations at the Saturn Awards: Best Science Fiction Film, Best Costume Design, Best Special Effects, and Best Supporting Actress for Milla Jovovich. Jovovich's combat sequences were recognized with a nomination for the MTV Movie Award for Best Fight, and she was also nominated as Best Actress Newcomer at the Blockbuster Entertainment Awards.

On the other hand, Jovovich was nominated for a Golden Raspberry Award for Worst Supporting Actress, while Chris Tucker received a nomination for Worst New Star due to his performances in both The Fifth Element and Money Talks. The film attracted four nominations at the 1997 Stinkers Bad Movie Awards, including Worst Picture and Worst Director.

Year	Event	Award	Nominee	Result
1998	Academy Awards	Best Sound Effects Editing	Mark Mangini	Template:Nom
1998	Blockbuster Entertainment Awards	Best Actress – Newcomer	Milla Jovovich	Template:Nom
1997	British Academy of Film and Television Arts	Best Special Visual Effects	Mark Stetson, Karen Goulekas, Nick Allder, Neil Corbould, Nick Dudman	Template:Won
1997	Cannes Film Festival	Technical Grand Prize	Thierry Arbogast	Template:Won
1998	César Award	Best Cinematography	Thierry Arbogast	Template:Won
		Best Director	Luc Besson	Template:Won
		Best Production Design	Dan Weil	Template:Won
		Best Costume Design	Jean Paul Gaultier	Template:Nom
		Best Editing	Sylvie Landra	Template:Nom
		Best Film	Luc Besson	Template:Nom
		Best Music Written for a Film	Éric Serra	Template:Nom
		Best Sound	Daniel Brisseau	Template:Nom
1997	European Film Awards	Film of the Year	Patrice Ledoux	Template:Nom
1998	Golden Raspberry Awards	Worst Supporting Actress	Milla Jovovich	Template:Nom
		Worst New Star	Chris Tucker	Template:Nom
1998	(Golden Reel Awards)	Best Sound Editing	(Mark Mangini)
1998	Hugo Awards	Best Dramatic Presentation	The Fifth Element	Template:Nom
1997	Lumière Awards	Best Director	Luc Besson	Template:Won
1998 MTV Movie Awards	MTV Movie Awards	Best Fight	Milla Jovovich vs. Aliens	Template:Nom
1998	Satellite Award	Best Visual Effects	Mark Stetson	Template:Nom
1998	Saturn Award	Best Science Fiction Film	The Fifth Element	Template:Nom
		Best Costumes	Jean Paul Gaultier	Template:Nom
		Best Special Effects	Special effects team	Template:Nom
		Best Supporting Actress	Milla Jovovich	Template:Nom
"1997"	"Stinkers Bad Movie Awards"	Worst Picture	The Fifth Element	Template:Nom
		Worst Director	Luc Besson	Template:Nom
		Worst Supporting Actor	Chris Tucker	Template:Nom
		Worst Supporting Actress	Milla Jovovich

Home media

The Fifth Element made its North American debut on 10 December 1997, available on VHS, LaserDisc, and DVD. The initial DVD release presented the movie in its original 2.39:1 anamorphic widescreen aspect ratio but did not include any bonus material. In October 2001, Sony introduced a Superbit DVD edition, which was lauded for its superior image quality, though it was also noted for the absence of additional content.

On 11 January 2005, an "Ultimate Edition" two-disc DVD set was launched, featuring a "fact track" on the first disc and a wealth of special features on the second. These extras covered topics such as visual effects, costume design, interviews with Willis, Jovovich, and Tucker, along with segments on the alien species depicted in the film. This version received acclaim for its comprehensive supplementary materials.

The film's initial Blu-ray release on 20 June 2006 faced criticism due to subpar picture quality and minimal bonus features. In response, Sony issued a remastered Blu-ray edition on 17 July 2007 and provided a replacement program for customers dissatisfied with the original release. This remaster offered notable improvements in both video and audio fidelity but still lacked extensive special features.

To mark the film’s 20th anniversary, a 4K Ultra HD Blu-ray remaster was released on 11 July 2017, delivering enhanced visual clarity tailored for contemporary viewing standards.

Legacy

Recognized by outlets such as CBS News, Rotten Tomatoes, and ComingSoon.com as a science-fiction cult classic, The Fifth Element has secured a lasting place in genre cinema. In 2007, the Visual Effects Society ranked it at number 50—tied with Darby O'Gill and the Little People—among the fifty most impactful visual effects films. Additionally, Time Out positioned it at number 42 on their list of the "100 best sci-fi movies" in 2014.

Film critic Mark Kermode highlighted the divisive nature of The Fifth Element, describing it as simultaneously hailed as the best and worst summer blockbuster by different audience segments. He recalled that its premiere at Cannes elicited sharply contrasting reactions from viewers. Stephen Cass of Discover ranked it third among sci-fi titles available on Hulu, emphasizing its extravagant visuals and strong performances by Bruce Willis, Milla Jovovich, and Gary Oldman. The movie has also developed a reputation for being "so-bad-it's-good," with Meredith Woerner of io9 listing it among "The 20 Best Worst Science-Fiction Movies of All Time."

Cast comments

In a 1999 interview, Willis reflected positively on his involvement, describing the project as "a real fun movie to make." Both Tucker and Jovovich expressed appreciation for their roles and collaboration with Besson in the Ultimate Edition DVD extras; Jovovich referred to Besson as "the first really amazing director I had worked with." Conversely, Gary Oldman revealed in a 2014 interview his discomfort with the film, stating "Oh no. I can't bear it," and explained in 2011 that his participation was partly motivated by Besson’s financial support of his film Nil by Mouth.

External links

• Official website