Nikita (1990)

Upon cinematic release, being fascinated with Bridget Fonda, I watched 'Point of No Return', which I enjoyed but had no idea it was based on Besson's film. Badham's work was okay in my books, but nothing spectacular. Over the years I had loved those films of his I had seen ('Leon: The Professional', 'The Fifth Element', 'The Family' and 'Lucy'), and decided I wanted to see his earlier classic. I like the fact that Besson always has some hand in the writing, and the exquisite and graceful small part he wrote for acting legend Jeanne Moreau, virtually a microcosm of everything splendid she had ever brought to the screen. Besson has a very good feel for the genres his films represent--he plays to his strengths, and is not afraid to stick to his guns (for example, I'm glad he chose the ending that he did). The two significant extras on my DVD, remarking on the making of the film, and the sound selections by scorer Eric Serra, were both informative and entertaining, and added significant value. I highly recommend the experience to those who only think of 'The Fifth Element' when they think of Luc's work--you're in for a real treat...

**One of the most striking films in Luc Besson's work.**

This is perhaps one of the most iconic films in the cinematographic work of Luc Besson, who is one of those directors who are hardly consensual or pleases everyone, but has an undeniable talent. The story revolves around a rebellious girl who becomes involved in a crime and the death of a police officer. Arrested, she seems completely out of control, is violent and seems to hate everyone who speaks to her. What happens next is perhaps the most poorly explained twist in the entire film: someone has the idea of faking her death in prison and taking her, against her will, to a spy training center run by the French government. Between a rock and a hard place, she has no option but to become a highly trained assassin.

The film is quite good, if we exclude the first half hour, which is quite surreal and in which the events are very underwritten. Luc Besson, who directed and wrote the script, is very good, but he didn't know how to put that young woman in a situation where she actually had to become a professional spy. Besides, why her? What was so special about her that she was forcibly selected for something so sensitive and where cold blood is so essential? In any case, from the moment he does this, the film runs smoothly and glides effortlessly until the end.

Anne Parillaud is good enough for the role and gives it what she needed, but she is not at all an attractive or sensual woman, as the film tries to sell, showing her with barely any clothes on whenever she can. Jean Reno does a very good job, although short, which seems like a rehearsal for what the actor will do later, in “Léon”. Marc Duret and Patrick Fontana gave life to the two main actors in a very correct and committed way. On a technical level, I would highlight the effects, discreet but effective, and the choice of sets and filming locations. Personally, I hated the soundtrack, but that was a problem in other Besson films, not just this one. It seems that the director has a particular taste for soundtracks that seem to be taken from cheap erotic films.