floydreese 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.

Woodyanders 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.

adrian-43767 Alain Delon has always been one of my favorite actors and this is probably his most accomplished performance as Jef, not least because it is so minimal - and yet there is a character there, a loner who cares for his caged sparrow. The latter is a reflection of Jef, who is trapped and unable to venture out of the world of crime. Like him, the sparrow is constantly on guard against intruders into this closed world, doubling up as watchdog that shrieks to warn Jef of an unwanted presence in the apartment. That relationship alone takes Le Samourai into a different dimension of perception and awareness.The film opens with a reportedly false quote comparing a samurai to a tiger in the jungle. Jef is on his bed, hardly visible, detectable only through a puff of cigarette smoke. This sets the mood for the rest of the film: silence, introspection, and no desire to communicate, let alone explain one's motives. It is a code and Jef abides by it.The sequence that sees Jef steal a Citroen DS is made memorable by Delon's deadpan acting, reflecting both vulnerability and commitment to his samurai-like code, all to an eerie silence. As he drives along, he gets an inviting glance from a beautiful woman driving another vehicle, but ignores her completely. Jef has no interest in distractions like sex, but has two women in his life, one white and blonde (his wife at the time, Nathalie Delon) and the other black, who function like angels of good and bad, life and death, and it is with them mainly that Delon shows touches of humanity and concern.The way he builds his alibi to avoid being charged for the execution of a bar/dance hall owner is highly professional and riveting, brilliantly done throughout, and followed by a subtly comic identification sequence at the police precinct where the witness only does not recognize his face, but remembers all he wore. François Périer is superb as the police captain determined to catch him, and he is perhaps the character who has most lines in the film, but all parts are extremely well acted. The barman is particularly effective in a very short role, looking surprised when he sees Jef act uncharacteristically, and unprofessionally, when he returns to the scene of his crime, thereby breaking his code.Le Samourai is punctuated by quite a few wonderful sequences, action is credible, photography very good and yet economical, and director Jean-Pierre Melville is probably in his best form ever. Given that he made some six or seven films of the highest order, that is no minor feat.This is a much imitated, but never equalled, work. It also has the advantage of no computer tricks, no bombs exploding, no unnecessary violence - just an assassin doing his job. He goes about it zealously, seemingly unflinchingly, but his conscience becomes increasingly present.Le Samourai does not moralize but you come away knowing that, however stylish Delon is, however seductive reclusiveness might seem, and however enticing such professionalism might be, ultimately you cannot run away from yourself.John Woo rated it the most perfect film he ever saw, and I endorse that rating, with a caveat that there are three or four films that I would place on a similar perch. Pity 10/10 is the highest mark I can give, Le Samourai deserves more.

Jackson Booth-Millard I mistakenly ticked this French film off in the checklist of my book 1001 Movies You Must See Before You Die, so I was lucky to find it, make this tick count and watch the film, I was really looking forward to it, directed by Jean-Pierre Melville (Bob Le Flambeur (Bob the Gambler)). Basically in Paris, Jef Costello (Rocco and His Brothers' Alain Delon) is a professional hit-man, a perfectionist who works under contract who always carefully plans his murders and never gets caught, while his personal life is solitary and lonely, he has no friends whatsoever. Costello's latest assignment is to assassinate the owner of a nightclub, he is successful in killing his target, but is accidentally seen by club pianist Valerie (Cathy Rosier). The police only have a description of what the culprit was wearing, a hat and a trench coat, to work with, Costello is picked up by the police and onstage as part of a lineup, among other men wearing the same clothing, the investigation is led by determined Police Inspector (The Nights of Cabiria's François Périer). The witnesses dismiss the other suspects, only Valérie recognises Costello in the lineup, but she lies that she did not see him, Costello is released also because he has set up an alibi with Jan Lagrange (Natalie Delon). Costello collects the money for killing the club owner, but his employer attempts t kill him for his mistake in getting caught, the Police Inspector puts together a team of undercover agents to follow Costello, as he believes him to be the culprit, the men follow him through the Paris Metro, but the underground labyrinth allows Costello to escape. Costello is determined to be paid for his killing job, and get revenge on the shadowy businessman who hired him, he is also careful to stay one step ahead of the Police Inspector. In the end the decision Costello makes bring him surprising results, he turns up at the nightclub, making no effort to hide himself, he confronts Valérie and points a gun at her, but gunshots are heard, and Costello collapses dead, it is revealed that Costello had emptied his gun before entering the club. Also starring Jacques Leroy as the Gunman, Jean-Pierre Posier as Olivier Rey, Michel Boisrond as Wiener and Robert Favart as the Barman. Delon gives a fantastic performance as the ultimate professional in his preparation and craftsmanship, this works as a great stylish character-study, it is kind of like a classic film noir, there is very little dialogue, only in the necessary scenes, and the acting is subtle, this adds to the nervy atmosphere, it is a most worthwhile thriller. Very good!