Sunday, August 06, 2017

Valerian and the City of a Thousand Planets


‘Valerian and the City of a Thousand Planets’ – while wonderfully monickered – would have benefited from any number of different titles, the most obvious being the original title of the graphic novel it’s based on: ‘Valerian and Laureline’. Because this is equally Laureline’s film. Perhaps more Laureline’s than Valerian’s. Actually, no perhaps about it. This is a film in which Valerian (Dane DeHaan) is so badly miscast that it could have scuppered the whole production … were it not for the sheer delight of Cara Delevingne’s performance as Laureline.

So maybe we should just call it ‘Laureline and the Wet Lettuce Leaf’. Or, in ‘Friends’ stylee, ‘The Old Where a Gamine Catwalk Model Gives a Better Performance Than Clive Owen, Ethan Hawke or Herbie Hancock’. Or, in abject frustration that it seems to be heading towards being a flop, ‘The Luc Besson Sci-Fi Opus That’s Actually Better Than The Fifth Element and Fuck the Haters’. Or given how deliriously action-packed, joyously colourful and exuberantly imagined it is, ‘The Curiously Overlooked Summer Tentpole Release That’s a Fuckton More Entertaining Than Anything Marvel Have Tossed in Our Direction For Ages’.

Personally, and for the purposes of this review, I’m going with ‘Laureline: The Movie’. After a handful of nothing roles in unremarkable productions (‘Anna Karenina’, ‘The Face of an Angel’), a likeable turn in indie film ‘Paper Towns’ and being utterly wasted in the cluster fuck that was ‘Suicide Squad’, Delevingne grabs the role of Laureline with both hands and reinvents herself as the kind of sexy, sassy heroine who demands the camera’s unconditional worship. On this showing alone, I’d put her up there with the bona fide icons of Hollywood’s golden age. So, at the risk of Mrs Agitation consigning me to the doghouse, here’s a raised glass to Cara Delevingne, the Rita Hayworth or Ava Gardner of the Instagram generation.

*ceases typing … takes cold shower*

Where was I? Oh, yes. Luc Besson’s ‘Valerian and the City of a Thousand Planets’ ‘Laureline: The Movie’. Narratively, it’s a massively overcomplicated space opera with an essentially simple story at its heart. Is this a bad thing? Overcomplication and space opera go hand in hand, and ‘Laureline: The Movie’ is no more self-indulgent or show-offery in its world building than your average Peter F. Hamilton novel.


I’m not even going to bother synopsising the plot. Besson overcomplicates it to allow for more genre tropes and more world-building. This is a movie whose visuals are the raison d’être and the narrative exists to move Valerian and Laureline from one location, one alien race, one production design orgasm to another. This is no bad thing: ‘Laureline: The Movie’ is the most visually gorgeous and extravagantly imagined work Besson has ever put his name to; it is, at one and the same time, a big-hearted homage to a certain era of sci-fi, and an expression of Besson’s credentials as auteur.

Narrative as a justification for moving an audience around a filmic chessboard, pausing here and there to deliver the kind of set piece that exists purely to demonstrate its own bravura, is a tag you can hang everyone from Hitchcock to Nolan by way of Clouzot, Frankenheimer, Friedkin and Tarantino, not to mention everyone who ever directed a giallo. Which is to say that most of the criticisms levelled against ‘Laureline: The Movie’ are total bollocks weighed against the pantheon of accepted classics. So you’re hating on Besson’s latest for the very same reasons that you unironically love ‘Barbarella’ as a camp delight? Yeah, whatever.

‘Valerian and the City of a Thousand Planets’ has two problems. The first is DeHaan – a likeable enough actor elsewhere on his CV but wrong for the role of Valerian in the way that John Inman would be wrong for a biopic of Bendigo or Dwayne Johnson as Charles Hawtry. The second is Rihanna, making the jump from shit pop singer to shit actress. To mitigate Rihanna’s performance, her intro is cannily staged to resemble a music video, thereby establishing a pop culture rationale for her character. No such excuse exists for DeHaan. The only reason any fucking scene he’s foregrounded in or line of dialogue he delivers works is because of Delevingne’s reaction shot. It’s as if, thirty seconds into the first day of shooting, Besson realised that she was his film-length insurance policy.


Beyond DeHaan and Rihanna, though, the film is just pure delight and spectacle from the stand-up-and-applaud brilliant opening sequence (played out to David Bowie) to the tense but mercifully not over-egged finale … and can I just say here, thank you thank you thank you for not dragging out the climactic setpiece to four times its feasible length the way every other fucking blockbuster of the last decade has.

Spectacle. Set design. World building. Brain-searingly gorgeous visuals. And on top of it all, Develingne in excelsis. Yes, I accept that I’m in something of a minority here. Maybe I’m in the weird yet privileged position of Luc Besson having spent hundreds of millions in making a film for me alone. If so, merci beaucoup; I owe you one.

3 comments:

  1. I don't need Google+ Circles and I don't need ads on my comments thread. To quote Malcolm Tucker in 'The Thick of It', "fuck the fuck off". Okay?

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  2. I did not go to the reviews before watching because I remember the ads for this movie before we cut the cord and went to streaming services. Boy am I happy I decided to wait until this was free to watch. Unlike previous reviewers, I made it to the end of the movie. The Rihanna scene (dance hall maybe? I wasn't paying attention) that was a cool performance in an otherwise horrible movie. I don't keep up with Hollywood actors, who's in or out, or which movies the director/producers have made before. I just don't care. That being said, both actors did maybe have a chemistry it felt more like brother/sister rather than the forced non-girlfriend/boyfriend attempting to marry one another that was going on. I can't tell if the lead girl is truly an actress? I feel maybe she started her career doing something else and was really good at it but decided to jump into the acting game. I can't take either one seriously. I would blame my "advanced age" but there are actors that are younger than these guys that are very good at what they do and have me believing an insane story line-stranger things anyone? I believe this was miscast and the story just took for-freaking-ever to unfold. The only reason this gets two stars instead of 1, the visual effects were stunning, and Rihanna was amazing.
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