Le Samouraï (1972)

Although it has its amusing moments, in eneral the plot does not convince.

Simple and well acted, it has tension enough to knot the stomach.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Exactly the movie you think it is, but not the movie you want it to be.

This neo-noir crime film reeks of atmosphere. Directed by the legendary Frenchman Jean Pierre Melville and starring the French heartthrob Alain Delon as the main character Le Samourai is a great classic of world cinema. Delon is an contractual assassin and his latest hit gets him in some soup. The style is minimalist and the cinematography is bleak on purpose. Though there are some plot holes which can be found if studied deeply I feel that the film is meant to be a stylish take on a philosophy and in that capacity it works perfectly. If you wish to get into French films than this is a straightforward flick full of fedora wearing assassins and nightclub singers that can be helpful.

This neo-noir crime film reeks of atmosphere. Directed by the legendary Frenchman Jean Pierre Melville and starring the French heartthrob Alain Delon as the main character Le Samourai is a great classic of world cinema. Delon is an contractual assassin and his latest hit gets him in some soup. The style is minimalist and the cinematography is bleak on purpose. Though there are some plot holes which can be found if studied deeply I feel that the film is meant to be a stylish take on a philosophy and in that capacity it works perfectly. If you wish to get into French films than this is a straightforward flick full of fedora wearing assassins and nightclub singers that can be helpful.

Strictly businesslike contract killer Jef Costello (the supremely handsome and commanding Alain Delon, who's the very essence of stoic cool) pulls off a hit that's witnessed by several people. This in turn puts Jef in a precarious bind in which he must rectify the situation as quickly and quietly as possible or else the ever present and pesky police will close in on him.Ably directed with striking austerity by Jean-Pierre Melville, who also co-wrote the tightly constructed script with Georges Pellegrin, with a mesmerizing wordless ten minute opening sequence, a spare moody score by Francois de Roubaix, a cold and detached tone, sly touches of humor, gorgeously glossy cinematography by Henri Decae, a deceptively simple and straightforward narrative that unfolds at a deliberate pace, laconic dialogue, and a strong undercurrent of despair and melancholy (Jef's lonely existence gives this picture an unexpectedly poignant quality), this film not only works as a glorious celebration of smooth elegant style and pure cinema with a refreshing noted emphasis on poetic visuals over long-winded scenes of people talking, but also serves as a potent and provocative existential meditation on fate and destiny. Moreover, Delon's assured and charismatic presence keeps this picture humming; he receives sturdy from Francois Perrier as a determined and calculating police detective, Nathalie Delon as Jef's loyal accomplice Jane Lagrange, and Cathy Rosier as chic pianist femme fatale Valerie. Essential viewing.

Marvellous mood and pace. Melville errs only occasionally by dwelling a bit too long on scenes which don't particularly enhance the mood or advance the narrative .. for example the scene of the two policemen putting the the listening device in Costelo's (Deloin's) flat... it really it goes on and on for an age.Costelo would nowadays more accurately be called a 'Ronin' -- a masterless ex-Samurai who works for hire, but still abides by the Bushido spirit -- asceticism, stoicism, and, ultimately, self-sacrifice. But that is a quibble.. the Samurai spirit is fully hallmarked by Costelo's taciturnity, inexpressiveness, calmness in the face of danger, and final embrace of death.