As in most scores, however, the soundtrack for
The
Fifth Element does feature some highlights. Serra does indeed
provide a main theme for the film, though a casual browsing of the album
will barely reveal it. This theme is the only truly orchestral idea in
the entire effort, representing the concept of humanity (and, to a
lesser extent, its savior in the form of Milla Jovovich) that is
threatened in the story's barely lucid plotline. This theme is previewed
in "Koolen," but finally receives full treatment on strings in
"Leeloominai," "Human Nature," and "Protect Life." During a particularly
disturbing sequence about the history of war, this theme receives a
brief blast of disharmony ("Pictures of War"). The three or four minutes
of this theme's statements on the album will definitely not be worth the
price for standard orchestral score collectors, because the remainder of
the score makes absolutely no sense. Serra flips the pages of every
genre during the effort, from the electronic droning of a suspense score
to the hip reggae of a romantic comedy in the Caribbean. The historical
parts of the plot are handled with heavily cliched Middle Eastern string
movements over incongruous pop rhythms while the forces of evil are
provided with pounding electronic hits, intentionally harsh and nearly
intolerable, and with the occasional help of a chorus. To call
The
Fifth Element eclectic wouldn't do it justice, with violent mood
swings at every turn. Somewhat more consistent is Serra's use of looped
drum pads and the incorporation of sound effects, highlighting the theme
for "Korben Dallas" (Bruce Willis). The three songs prominently featured
in
The Fifth Element could not be any more diverse themselves.
While "Little Light of Love" is the somewhat standard European-sounding
rock piece heard over the end credits, the rap song "Ruby Rap" simply
makes you want to throttle Chris Tucker. The opera piece performed on
the cruise ship in space ("Lucia di Lammermoor") is beautifully
performed by the London Symphony Orchestra and Inva Mulla Tchako. The
transformation of the piece into a modern dance bonanza in the following
"The Diva Dance" is frighteningly interesting in an exotic way.
Serra's expansive use of not only his vast library of
synthetic rhythms and sound effects, but also those directly from the
film is intriguing and, if it catches you in the right mood, quite
funny. The sounds of meowing cats, banging doors, random guitar
strumming, and sloshing water are catchy, but their mixing is harsh and
bombastic and therefore highly distracting. Serra is sure to make it
known that this technique is done for purely humorous reasons by the
time you get to "Aknot! Wot?," the concluding track on the album. This
recording takes the hip rhythm from the "Korben Dallas" cue and
accentuates every musical aspect of it before inserting snippets of
spoken dialogue and many more sound effects from the film in synch with
its movement. This cue is both hilarious and utterly intolerable,
perhaps the most awkwardly unique single track appearing on any
soundtrack album in the 1990's. If you need something to drive away
potential mates or make nearby drivers flee you at intersections, crank
up "Aknot! Wot?." The sounds of female orgasms alone could do the trick.
Overall, this score was obviously written to deviate from the norm.
Because it matches the careless and flamboyant personality of the film,
you can't denigrate Serra for producing it. At the same time, however,
it's a nearly impossible score to sit through from start to finish,
because along the journey through the genres of reggae, techno, opera,
rap, pop, and classical, the album fails to convey any kind of
connecting tool with which to identify the whole work. It serves as, in
many ways, a promotional sampler of Serra's talents, and while you might
be inclined to take three or four tracks off of the album for your own
compilation, the entirety of the album fails. Thus, it wasn't surprising
to see almost every film score reviewer give
The Fifth Element a
neutral rating. If you lived in Fhloston Paradise, then it might work,
but on 21st Century Earth, it just doesn't make sense. If not for the
fact that the album (with several different covers released
internationally, all containing the same music within) has been out of print
and expensive, the "Aknot! Wot?" track alone would be worth some morbid
curiosity. You couldn't get a better souvenir from the film anywhere
else.
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