All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Hitman Jef Costello is a perfectionist who always carefully plans his murders and who never gets caught.
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…
That was almost a lethal dose of cool. The raincoat and hat clad hitman at the center of Le Samourai is a smooth talking, deliberately paced isolationist with a stone face and piercing eyes that are always looking towards his next contract hit. The hitman, Jef Costello, has all the qualities of a noir protagonist; quiet, brooding, smoking a cigarette, walking in the rain and living in the shadows. But this noir protagonist walks straight out of the 40's and into the 60's French New Wave film movement.
Jef is a man of straight edges. His sharp downturned eyebrows, the lines on his coat and the perpetually…
I think I must be getting blase after watching so many films; I know I've just watched something great, a film whose influence on subsequent cinema is obvious and significant, yet why do I not have that vibratory sensation that usually accompanies a great film viewing? I feel a bit cold and detached after watching this to be honest.
One thing that stands out here from other French films (Particularly the New Wave, which I've just discovered director Melville was a direct influence on, even giving editing advice to Goddard on Breathless) is silence. Praise be! a French director who knows how to use silence effectively and not cram every minute with pseudo-philosophical blather.
The silent, procedural scenes of this…
Watched for an upcoming onthisdayinfilm.com article on Alain Delon. Possibly a filmreviews12.com review coming soon as well just to discuss in depth how goddamn brilliant this movie is.
I hereby propose a retroactive retitling of this movie to I Know Why the Caged Bird Sings.
Quintessential noir perfection.
A masterpiece combining elements of film noir with samurai and French New Wave characteristics. This film was absolutely fantastic. Everything from the visually minimalist nature of the film to the cold & solemn demeanor of Jef to that great, inevitable end blew me away.
top 25 film
Melville's French noir thriller is a master stroke of restrained visual style and acting. There is minimal dialogue, no exposition to speak of. I saw it as a predecessor to Nicholas Winding Refn's Drive, which shares a strikingly similar plot and protagonist, though the handsome Alain Delon is far cooler than Ryan Gosling in the no nonsense lead. A terrific film with tight plotting and a fantastic ending.
Transposing the lone samourai trope into the key of french new wave, Le Samourai is an interesting exercise in style: our cool as hell protagonist sports a trenchcoat and fedora instead of the traditional samourai garb. But what I found most interesting is the way it fits the bill of a noir without using shadows - we get sufficient light in every shot and yet it is still effective as a noir.
Everything about this film is cool. Melville's use of light and space to paint pictures and scenes without resorting too much on trivial things like dialogue is extraordinary. Melville builds the tension in a minimalist way right until the final scene. When action and dialogue are used so effectively as in this film, it shows where so many others make mistakes. Nothing is superfluous here. Melville delivers a lesson in film-making that's not matched by too many others.
Cold, icy near-perfection, which makes glimmers of conventional warmth become all the more breathtakingly pronounced.
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…