This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
Hitman Jef Costello is a perfectionist who always carefully plans his murders and who never gets caught.
What an amazing film to finish the year with.
International superstar Alain Delon as Jef, an assassin whose world is turned upside down when a routine hit gets a tad bit tricky in this Jean-Pierre Melville crime drama. Chirping birds. The way Alain Delon looks wearing his raincoat and top hat. Barking doggie. Plate switcheroo. French hottie. Perfect alibi. High-stakes poker. Fuck the Surgeon General! Smoking is cool. Quick Draw Jef. Michael Jackson's white glove? Police harassment. Usual Suspects-esque moment. Hat game. Identity game. Alain's eyes. Sunny day rain. Subway escape. Stairway walk. Does Alain ever take his hands out of his pockets? Double-cross. Hat rack. Sexy piano playin' vixen. High-tech security system. A breaking and entering straight outta Le Cercle Rouge. Tricky coppers. Swivel chair. Shattered glass. The…
By choosing Alain Delon for the role of Jef Costello - the brooding, silent assassin who slinks through the murky shadows of the Parisian night - Jean-Pierre Melville highlights the importance of casting. Getting the right person onboard who can disappear into their character and embody their spirit. When a director can focus their lens onto a face that tells a story of its own, the hardest part of capturing the attention of the audience is done.
Very quickly after meeting the assassin, questions about Costello quickly rack up. Where has he come from to arrive at this point in his life as a consummate professional killer for hire? How long has he been living in solitude tending to his…
There is no solitude greater than that of the samurai unless it be that of a tiger in the jungle... perhaps...
There's a reason the word suave originates from the French language. This fantastic film noir, from its opening shot, swept me along accompanied by smooth jazzy music and told me the story of an incredibly intriguing protagonist.
Alain Delon is captivating. I watched him in a daze as he portrayed the steely eyed, methodical and outwardly emotionless killer. His look in this film has an iconic feel to it and, apart from being an important element in the first half of the film, really strengthens this film's fantastic style.
Melville is almost as methodical as his hero. He structures…
THE URBAN SAMURAI
Less you speak. More you say.
There is no greater solitude than that of the samurai unless it is that of the tiger in the jungle... Perhaps...
— Bushido (Book of the Samurai)
1) Tigre dans la jungle
Jeff Costello smokes his cigarette, and the title appears and one or two are said information on the screen, it's Saturday night and is. And that's enough for us. Le Samurai has a story and a simple and minimalist plot as everything else is. From the little dialogue that is spoken only 9 minutes and 58 seconds exactly and the first line is: Jef? - What is good to have a few dialogues can give a quick attention to…
At the time of this review, some pillock has changed the name of this film in the database to The Samurai, which no-one bloody calls it. If you are reading this and you made that change, YOU ARE A KNOB.
Now obviously this film has been ruined forever due to its association with the user picture of that Adam Cook, who is currently in hiding after his latest Mafia hit. But I was able to see past that, put aside all my prejudices against the lad, and still thoroughly enjoy my third slice of Jean-Pierre Melville crime stuff.
Fortunately for you I'm not going to do a proper review of it because I'm sicker…
From the first few seconds of the legendary opening shot, you notice yourself sitting up and drawing closer to the screen, a shit-eating grin slowly coming over your face - you know you are in the presence of cinematic greatness, that every moment, scene, shot, look, nod, line of spare dialogue will be just right. Everything in its right place.
Le Samourai is the epitome of brilliantly cool filmmaking, i drank it up like i've been wandering in the Death Valley for days.
This sort of a take on a Noir genre flick could have easily descended into parody or caricature - instead, it's a stone-cold classic and a total delight for a cinephile. Bravo Melville, Delon and the rest
La elegancia. El estilo. La esencia de lo cool. La soledad. La muerte como meta. La vida como viaje. El silencio. La seducción. La belleza. La dignidad. La fidelidad. El compromiso. El cine.
Sort of a French response to James Bond. Delon is meticulous, impassive, and always the coolest guy in the room.
Highly recommended. Watch 'Ghost Dog' after you see this.
-"Why did you say you didn't recognize me?"
-"Why did you kill Martey?"
-"I was told I'd be paid."
Cold, elegant machine are both, the man and the movie.
Film-noir by way of Bresson. Breathtaking.
The last movie I've seen in theaters was Captain America: Civil War. I mention this because the entire time I was watching this film all I could think about is the amount of plot contained in this film is probably less than the amount of plot in the first act of any Marvel movie. Now this isn't a diss against Melville's movie or against the MCU. I love both. But I think this carefulness with words and with images, and the slow-moving tension is what makes Le Samourai so breathtaking to watch. In it's own weird way, it's wholly original. The three genres that it takes so much from are gangster flicks, film noir, and samurai movies, but it can't…
Is there a cooler film protagonist than Jef Costello? He is convincing as an expert hitman right from the first, sold not only through the performance, but also spot-on direction and framing. Even when the police close in and the situation goes south, you have the feeling that Costello knows exactly how to handle things and get out of it all cleanly.
Cool. Very Cool. Maybe... a little cold.
A rainy day in, so what better time than to indulge in Melville gangster films?
Le samourai is essentially perfect filmmaking where direction, music, production design, performances, tone, thematics, and photography all comes together and culminate in a fatalistic cocktail of fedoras, trench coats, unbearable tension, and impossibly serious demeanours that seemingly ignore how absurd a situation is. The way the music compliments whats happening on screen is really incredible to behold and I love the long stretches without dialogue, where Melville's visual sense really takes off. Likely his best film and one that is adored by critics and audiences alike, even among such crime masterpieces as Le doulos, Le deuxieme soufflé, and Le cercle rouge.
Also love the nods to 1942's This Gun for Hire--pay particular attention to the opening scene and even Alain Delon's uncanny resemblance to Alan Ladd in a trench coat and fedora.
Movies that are slightly off.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…