Operatic, furious, and unrelenting, The Road Warrior is nearly devoid of humanity. It is a vision of a world where the only escape from maddening chaos is blinding speed - moving as fast as possible along a road with no ending, no future. And The Road Warrior captures that nihilistic bent wholly. Le Dernier Combat approaches the same chaos - civilization reduced to rubble, humanity profaned - and suggests that the only way out is order, not escape. Besson sees the same world but with a fanciful eye. (While Le Dernier Combat was begun in color, it is Besson's stunning use of B&W Cinemascope that lends the film its polished, big-budget look. The style is "cinema du look," vogue in the '80s relying heavily on aesthetics over depth, consumer fetishism and "window shopping.")
Continue reading: Le Dernier Combat Review
A giant metaphor for freedom and self-discovery, directed by a young Luc Besson who had yet to discover his self-indulgent streak, "The Big Blue" is a visceral and turbulent, yet strangely tranquil and beautiful cinematic experience that plumbs the souls of a pair of competitive deep-sea divers who are at once best friends and bitter rivals.
Made in 1988 and reissued this summer in a 40-minutes-longer director's cut, it's one of those rare films you can't help but be affected by on some level. Its vivid photography and even more vivid performances strike a nerve as the film follows the warm but antagonistic friendship between bombastic Enzo (a pre-"Professional" Jean Reno) and quiet, private and deeply reflective Jacques (a pre-"Zentropa" Jean-Marc Barr) beginning with their shared childhood in a craggy, cliff-side, coastal Greek hamlet.
Years later they meet again and form a powerful bond and a dangerous rivalry after discovering they're both record-setting divers who can hold their breaths for super-human lengths of time and plunge to unimaginable depths in professional diving competitions around the Mediterranean.
Continue reading: The Big Blue Review
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