If 1997’s The Fifth Element wasn’t enough to immortalize him as one of the most visionary sci-fi directors of all time, Luc Besson’s Valerian and the City of a Thousand Planets cements his place in the elite circle. The film is a testament to the marvel of cinematic imagination.
Dane Dehaan and Cara Delevingne star as Major Valerian and Sergeant Laureline in the on-screen adaptation of the classic French comic book series, Valerian and Laureline created by Pierre Christin and Jean-Claude Mézières. Set in the 28th century the partners are special operatives who travel through space and time completing missions for the good of the human race and the ever expanding galaxy. The film begins with a quick history lesson to get viewers acquainted with the Alpha system, an intergalactic space station that started as our own international space station and grew to not only include the many races of Earth but newly discovered alien races as well.
We first meet Valerian and his partner on their way to a mission. They are presented as potential lovers; fraught with sexual tension, but also a deep seeded love for one another as brothers-in-arms. It’s clear that while Valerian is quick with a cheeky pick-up line, Laureline doesn’t trust his romantic motivations, so learning to show his true feelings for her will be his biggest challenge. Their onscreen romance feels staged, the chemistry just isn’t there between Dehaan and Delevingne but, oddly, that works for the bizarre courtship of Valerian and Laureline. In any other film a lack of chemistry would draw viewers out but there’s a weird lost in translation whimsy the film employs that makes up for the stiff acting and poor dialogue. Whimsy is important for this film, the cheerful tone helping to carry the over the top premise.
Besson is quick to establish the world of Valerian, not only with the opening scene that explains the history of the Alpha system but with every inch of the frame. This film is so visually immersive it almost doesn’t require a story or premise to be captivating. But don’t worry, it still manages to scrape one together. On the day of their mission Valerian wakes from a frightful dream, and as he completes his mission he realizes that elements in his dream are entering his reality. Ignoring the connection Valerian and Laureline continue on their quest to return stolen government property to their superiors only to find themselves entering deeper and deeper into a dangerous conspiracy, with only Valerian’s fragmented dream memories to guide them on the right path.
While the romantic angle of the story seems forced, there is a jovial tone between the two stars which lightens their misadventures and solidifies their friendship. While I’m usually a fan of DeHaan, I must admit this has to be his weakest performance to date (and I watched The Amazing Spider-Man). In all fairness however, the fault seems to lie more in the dry, exposition-heavy dialogue and the circus of a film shoot rather than DeHaan’s ability. Delevingne on the other hand, hasn’t had a great run (Suicide Squad, Paper Towns) since turning her attention from modelling to acting. But despite a somewhat stiff performance, there is something eerily captivating in her portrayal of one of the early feminist heroes of science fiction. Watching her as Laureline, I honestly couldn’t think of someone who could have captured the nuances of the character better.
Valerian and the City of a Thousand Planets is a visually engrossing film. I couldn’t help but compare the experience I had watching it on the big screen to that of film-goers in 1977 as they experienced Star Wars: A New Hope for the first time. The story is intriguing, the acting is passable but most importantly it’s a spectacle that pushes the boundaries of established cinematic form. Valerian offers a sci-fi revolution for a new generation. If you’re going to spend part of the short lived Canadian summer in a movie theatre, than do yourself a favour and check this one out on the big screen.
Reviewed by Vithiya Murugadas.
