All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
Noir-November Challenge! Movie #8
Jean-Pierre Melville's stylish french film noir exudes atmosphere and a whole lotta attitude!
Savoir faire hitman Jef Costello (Alain Delon) is the epitome of cool! His use of dialogue is sparse, his eyes and actions however speak volumes! His demeanor is cool, calm and collected! Ice water runs through his veins!
The impact of this highly influential masterpiece is still being felt today!
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…
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 hate to say that admired this more than I actually actually enjoyed it, and it's definitely a film to be enjoyed.
It's influences are abundant, more than anything else I've sat down with this month, but I really do need a rewatch when the time comes. The bits of symbolism, like his room being all grey and lifeless like him, yet shows a bit of color when exposed, like a drawer being open showing the unpainted relatively bright wood on the sides; there's more to this than I got, but I could still see this was an exercise of more style than story.
And I'm okay with that. I'll probably be more okay with that later.
It's a movie of few words and great actions. The camerawork in this movie feels like a great work of art. The lead acts incredibly suave thought the movie and holds this otherwise thin story together. The movie does a great job of show and don't tell, making each action a question. Sometimes, it goes overboard and becomes boring, but it's an interesting technique. Overall, it's enjoyable.
A film as unbelievably assured and "cool" as its protagonist. It's easy to see how cinema as a whole would be incredibly different without Le Samouraï's influence, let alone "cool cinema".
This is a relatively fast-paced crime thriller which keeps building in suspense as it looms towards its climax.
The use of sparse dialogue only helped in building the mood of the tense atmosphere and really added to the mysterious nature of the main character.
A expectation subverting, incredibly stylish film about a hitman for hire in crisis. Apart from general comments about just how great this film is to look at and how Melville seems to control the tone and pace with such consummate ease and stylistic originality, two things stood out.
First, the sound design is not something i usually walk away thinking about but its so fantastic in this film. The jangling of car keys to the squaking bird always informing the narrative more than any dialogue does or potentially could. It reminded me of the whistling in Fritz Lang’s ‘M’ in how brilliantly sound can be employed.
Second, whenever i hear anything said about “cool” films, i shudder at the thought…
One of the very best neo-noir ever filmed, this film is so iconic it should be outlawed. Just about every frame is perfect, every line delivery spot on, the minimalism enrapturing. The cold color palette makes muted colors look beautiful, the masterful cinematography is beyond incredible, I could watch this film every day for a year and still see something new.
I will admit that the combination of my love for the other Melville films I've seen (Le Cercle Rouge, Army of Shadows) and this being Adam Cook's avatar since I joined Letterboxd heightened expectations for this film.
Through the lens of those expectations, Le Samourai's deliberate pace, especially at the start, was a bit disappointing. But really, I was getting exactly what I should've expected from the film.
Melville loves to let the activity on screen do the talking, and Le Samourai is no different. Between Jef setting up his alibi, the men bugging Jef's apartment, and the masterful cat-and-mouse game of the police trying to stay on his tail, the film is full of awesome procedural sequences.
Alain Delon is cool as a cucumber as the eponymous contract killer, and Francois Perier's dogged detective is a worthy adversary, making for an awesome back-and-forth crime film.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…