Bear Mann's video: TunePlay - NIKITA aka LA FEMME NIKITA - 1990 Eric Serra

In 1990, a stylish French thriller blasted it's way around the globe. A dark, violent ... and at times touching reworking of PYGMALION, it damn near single-handedly gave birth to what would come to be known as the "Cinéma du look" school of movie making: a slick, at times borderline surreal "neo noir" lauded by some as the greatest European cinema movement since the New Wave of the early 1960s, and derided by others as American-influenced "style over substance". The three French directors considered the then vanguard of this new breed of film were Jean-Jacques Beineix (dir. of BETTY BLUE), Leos Carax (BOY MEETS GIRL) and Luc Besson, who's action extravaganza NIKITA (released in the U.S. as LA FEMME NIKITA), was that PYGMALION-thriller performing the aforementioned global box office "blasting" act. Raised by diving instructor parents, Besson's dream of a career in oceanography was scuttled when an accident at age 17 left him unable to dive again. Combining two other childhood passions, writing and photography, he'd enter film by spending time on movie sets and doing odd jobs till becoming an assistant director, then helmer of various shorts, documentaries and commercials. All of this would leadi to his feature debut, the much lauded b&w (and near silent) post apocalyptic thriller LE DERNIER COMBAT (1983). It was on COMBAT where Besson would strike up two life long friendship / professional collaborations. One with actor Jean Reno (COMBAT was his first lead role), and the other with composer Eric Serra. Over the years two or all three men at a time would re-team on THE BIG BLUE (1988), ATLANTIS ('91), THE PROFESSIONAL ('94) and THE FIFTH ELEMENT ('97). But despite that list of international successes, 1990's LA FEMME NIKITA still remains their most critically acclaimed filmic effort. The story of a drug addicted, suicidal female gang member, who is recruited by an intelligence agency, given a high fashion makeover, taught the finer things in life, then equipped with an arsenal to use as a high tech assassin of "enemies of the state" occupying the upper echelons of society, it opened in France in February of 1990. Taking no prisoners (but plenty of box office) during it's worldwide blitz, it made it's way to America in April, then continued circumventing the globe; finishing it's run with a debut in Italy in August of the same year. It would net over $50 million worldwide, lead to an American remake (1993's POINT OF NO RETURN), an unofficial Japanese redo (BLACK CAT) and two separate but equally popular television series. In addition to LA FEMME NIKITA's searing visual style (a hybrid of New Wave, Peckinpah-like violence and Hong Kong-inspired action choreography), one of it's most remarked upon aspects was the avant garde yet rhythmic musical score by Eric Serra. Like Besson's film itself, Serra's score would be a slick, complex, layered amalgam of elements - here including rock, jazz, new age, blues and even the burgeoning "sampling" movement which would later evolve into hip hop. Primarily a singer, songwriter and bassist (he played for vocalist Jacques Higelin) until meeting Besson and scoring LE DERNIER COMBAT as his first film at the age of 24, Serra, like good buddies Besson and Reno, would often go off to other projects but always return to his creative homestead. Besson would become one of the most popular action film makers in cinema history; apart from directing his own films, acting as producer (and often writer) on hits such as the TRANSPORTER, TAKEN and the animated ARTHUR AND THE INVISIBLES series (based on his own novels by the way), as well as HITMAN, TAXI, KISS OF THE DRAGON, FROM PARIS WITH LOVE, COLOMBIANA and others. In like fashion Serra would lend his musical voice to the works of others, including the 2002 remake of ROLLERBALL (also starring Reno), BANDIDAS, BULLETPROOF MONK and, perhaps most impressively, the 1995 James Bond adventure GOLDENEYE - the score of which to this day has both it's ardent fans and fierce detractors. Standing the test of time however (over 20 years now, hard to believe!!!), LA FEMME NIKITA still remains Serra's crowning achievement. Just as fresh, innovative, sonically impressive ... and plain bad-assed cool as it was upon the first dimming of theater lights in February 1990. "There are two things that are infinite: femininity ... and the means to use it to your advantage" CEJ 1) Rico's Gang Suicide (0:00 of 14:47) 2) Failed Escape (3:14 of 14:47) 3) The Free Side (6:55 of 14:47) 4) NPOKMOP (10:39 of 14:47) For more "TunePlay" mini movie music suites go to http://www.gullcottageonline.com/TunePlay-ClarkeApril_12.html "Bear Mann" is the YouTube channel of The GullCottage/Sandlot, a film blog and growing reference library "Celebrating The Art of Cinema, ... And Cinema As Art" Visit us at: http://www.gullcottageonline.com All rights held by copyright owner. Presented here for educational and criticism purposes only.