Customer Reviews

Le Samourai [VHS]

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4 star:		(15)
3 star:		(6)
2 star:		(3)
1 star:		(1)

 

 

There are very few movies in the history of the cinema that are as perfect as Jean-Pierre Melville's "Le Samourai". "Le Samourai" is without question my favorite movie of all-time, and one of the best ever made. It's a movie that isn't widely seen, and is never shown on TV, however, it has had a tremendous influence and inspiration for many filmmakers ever since. "Le Samourai" itself was inspired by the film noirs of the 40s and 50s, especially "This Gun for Hire"(1942) which includes a performance by Alan Ladd as a similar loner hired killer character as Alain Delon's (Jef Costello). I love this movie for too many reasons to mention. First of all, the direction by Melville, the beautifully dark cinematography by Henri Decae, the writing, the editing, etc. Also, the performances are all great especially Alain Delon, who gives the performance of a lifetime, it's absolutely one of the greatest performances ever captured on film. There are too many beautiful moments in the movie to mention, and I won't mention them as to not ruin it for anyone who hasn't seen the movie. One moment in particular is stunning when Delon, who plays a hired killer (Jef Costello), nurses a gun-shot wound to his arm, there's not a false moment in the entire movie. Another is after he steals a car as he drives he stops for a moment as another car with a woman in it stops next to his car and they both turn briefly to look at each other, it's done with a subtle, flawless, breathtaking beauty rarely captured on film. I own a VHS copy of "Le Samourai" which I have almost completely worn out, so I hope that Criterion or some merciful DVD company out there produces a quality DVD of this important masterpiece as soon as possible. I would like to think that amongst the "Gladiators", "Independence Day" and "American Pie" DVDs, they could include a quality DVD of "Le Samourai" for the sake of humble DVD consumers who love great movies. In all, I have to say that I need to watch this movie repeated times so I can enjoy it and be inspired, as well as to remind myself that movies can be important and meaningful. When I see all of the garbage that is shoved out onto movie screens nowadays, it's downright depressing and sometimes demoralizing, so it's nice to be able to put on "Le Samourai", or another great movie of the past, and remember what movies could be and should be!

This superb film is gripping and fascinating from start to finish. Alain Delon is extraordinary...his seemingly cool, blank face has so much pain in the eyes, and his hands ! Watch his hands act ! The expressiveness in them throughout the film is riveting.

I love the way he looks at the bird for clues as to what has transpired in his apartment...this is some of the subtlest and best acting you'll ever see. It's a work of art.

The sepia and dark grey tones of the cinematography are exquisite. Everything looks damp, cold, and hard, and the editing is dazzling. This is a brilliant film from every aspect. If you like noir thrillers, don't miss it.

The wheel of life circles towards a predictable conclusion, as does Jean-Pierre Melville's cinematic masterpiece Le Samouraļ. The film emits a strongly inevitable atmosphere, yet the silence, dualistic, and enigmatic narrative leaves the audience ambiguously flabbergasted far after its initial screening. The serenity that surrounds the protagonist cerebrally submerges the audience into a world where opposites coincide in an illusionary moment. It is in this moment where the thoughts conceptualize into a coherent piece of alternative reality and offer support to the power of suggestion. The blending of the fictitiously thoughtful imagination and the reality on the screen leaves the audience with a strong sense of dualism. Like Yin and Yang, the notion is further developed through the protagonist Jef Costello (Alain Delon) who peacefully approaches his violent profession, as a hit man. He is the embodiment of mind and body converging towards a moment of perfection, as he seeks his own path, a path similar to the samurai - the way of Bushido.

The contrasts within Jef and his environment sharply emerge in the lengthy initial scene where he rests on a bed while staring into the ceiling. Not much is in motion besides him lighting a cigarette, a canary singing in a cage, and cigarette smoke lingering in midair while the sounds of vehicles passing outside informs the audience about the continuance of existence outside. A sparsely furnished and decorated room with aged and peeling wallpaper demonstrates his humbleness, as he pays no attention to vanity or self-importance. Thoughtfully, perhaps, most likely, Jef might be seeking the greater meaning in life. The opening scene symbolically suggests that while people outside are busy scurrying back and forth in their cars to uphold a way of life governed by others' need of monetary means. Unlike the majority of the world, Jef seeks contemplative solitude, as a small tidbit of Bushido emerges on the screen stating, "There is not greater solitude than that of the samurai, unless it is that of the tiger in the jungle...perhaps..."

Whenever Jef leaves his simple apartment, he dresses himself in an exact and detailed manner, but not for narcissistic purpose. Instead, it seems as if he is preparing for battle, the beige trench coat and gray hat hint towards the idea of a samurai's armor and helmet. Every minor facet seems to be carefully calculated, as he is about to perform his profession to perfection. Words are meaningless. It is only the act of his task that matters while he carry's out his masters order with a deep sense of loyalty and respect. Despite the bloody purpose of his task, he approaches it with a great sense of benevolence and honesty to those who help him. He is to the point without intention of squandering time, yet he is adaptable to the changes around. Precision and flawlessness are also essential to the task of killing a nightclub owner, as he respects his target. To visually display his respect to the person he is about to kill he dresses in white gloves while also informing the marked man that he is about to die. Analogously Jef approaches his task to that of a samurai who would slash his sword through flesh without leaving any cutting mark until the limb slowly drift apart due to gravity.

Methodically, Melville transcends the American gangster cinema into an extraordinary combination of French New Wave and traditional Bushido that leaves the audience a timeless piece of cinematic brilliance. The story continues to unfold in, as mentioned before, a predictable manner when it turns into a cat and mouse game between Jef and the law enforcement. The police arrest Jef, but must release him due to lack of evidence and as one of the witnesses falsely acquits him for unknown reasons. Police inspector (Francois Perier), who strongly suspects Jef despite his watertight alibi, leads the investigation and he continues to pursue Jef. Meanwhile, Jef's criminal employer expects that he ratted them out in order to be released. This too will have consequences, as they try to have him killed before the police know too much. However, those who know Jef are aware that it is against his Bushido to squeal on superiors due to his respect and loyalty.

Throughout the film the audience will be informed of the date and time, which suggests the importance of time. The notion of seizing the day, and that time alive is overwhelming. It also offers the audience to ponder life's final solution, which often ends with an abrupt stop of the heart to experience another beat. The fear of death often devastates people's ability to fully live while samurai often contemplate the moment of death, as the moment of perfection. It is a moment where two opposites unite, as the circle of life has gone full circle from no life to life and back to no life. The use of Bushido accentuates this notion, as it draws its philosophical concepts from Buddhism, Zen, Confucianism, and Shintoism. Buddhism provides the samurai of the belief of reincarnation, which strengthens their courage and lowers the guard from fear of death while life allows them to contemplate the wheel of life. In the end, Melville presents the importance of the here and now through his anti-heroic masterpiece Le Samouraļ focusing on the moment and the actions that set life in motion.

Le Samouraļ offers a fascinating cinematic experience on the surface, but it is when the audience begins to reflect over the film and its depiction where Melville's cinematic gift reveals itself. The film reads like a painting, a different interpretation for each viewer. Over time the accumulation of the viewer's experiences will help decipher the film and allow the viewer to uncover their own valuable lessons. Thus, time will allow for the experience to grow with contemplation, and in time Le Samouraļ will change with the accumulation of experiences to a condensed purification of cinematic virtuosity.

A cool, chic, atmospheric Noir classic that stands the test of time. Has a huge nostalgia appeal as it offers a window into a far happier, livelier Paris before the first encroachments of multicultural devastation. The soundrack is phenomenal and Melville's film making artistry is unimpeachable and cannot be compared to some of the entusiastic epigones some reviewers mention. The entire opening sequence, to the point when Jeff Costello breaks into a parked Citroen, rankjs among the finest few in cinema history. Basically, "Le Samourai" is Melville's tribute to the American gangster cinema of the 40's and 50's and one in which, aesthetically and artistically, the student surpassed his idols.
Jean-Pierre Melville (1917-1973) was at his peak in late 60's when besides Le Samourai, he made two amazing nail-baiting thrillers "L'Armee Des Ombres" (1969) and "Le Cercle Rouge" (1970)...

The fertile imagination and superb direction of this unusual and sometimes forgotten filmmaker for most audiences, find the perfect intersection of a killer who lives according Bushido codes, moving continuously around Paris with his fedora hiding his eyes. There will be a mythical revenge behind.

Unexplainably, Jean Pierre Melville is a relatively not so well known in this side of the Atlantic. He possessed that sixth sense so demanded in an original filmmaker. He influenced and at the meantime was influenced by the Noir genre in the sixties.

But his whole work conforms one of the most astonishing personalities in the French Cinema as well as in the World.
From his first Opus; the wonderful, poetic and expressive film "The silence of the sea", passing by "Bob le flambeur" or his famous "Army of shadows", Melville has received a curious and cynical nickname: "The most famous French Director in USA and the most North American filmmaker in France."

Go for this singular and original film. Absolutely electrifying!

This must be one of the coolest gangster flicks ever...the French know how to do their gangster movies...Alain Delon is wonderful as the seemingly impassive, yet passionate contract killer who lives by a severe, exceedingly moral code.

Humorously enough, this film was dubbed "The Godson" in its first chopped-up American release, to try and siphon some of the market from the audience for the Coppola classic.

Often regarded as Melville's seminal work, Le Samourai's cool sophisticated noir style stays true to its Parisian roots. But, if you are reading this, you probably know how good this movie is. What you may not know is that the Criterion Collection (by far the best DVD publisher) will finally be releasing this movie on DVD in October 2005. No more poor quality transfers to deal with, expect a sharp image with pristine sound and excellent special features.

If you love movies and actors that tell stories via exquisite rendering of detail, then you'll cherish this film. Delon speaks volumes with one deft touch, whether its smoothing his hat brim or rubbing his injured arm after the Metro door jars him. The man forgets nothing and absolutely inhabits his character. Stunningly handsome, he plays against type. He's in the shadows, under his fedora, no Hollywood smile a la the young geeks that make movies today. Delon just makes art. A great film!

38. LE SAMOURAI (French-action, 1967) Jef (Alain Delon) is a killer for hire. A brooding, mysterious individual who works alone, but has ties to underworld connections. When he's paid to kill a nightclub owner he's seen by the club's piano-singer. Called in for a police line-up, other witnesses are unable to identity him and though the singer can, she does not. Not happy with the loose ends Jef's employers decide to kill him. Since the police are on his trail they instead offer him a new contract. Jef is ordered to kill the only witness to the crime, the piano-singer.

Critique: A coolly ambivalent study into a modern-day 'Samourai' (an outcast who lives by his own set of rules). French director Jean-Pierre Melvilles' fascination with American 'hard-boiled' novellas of 40s and 50s inspired his moviemaking career. He liked to dwell on the pretentious liaisons between criminals and the law, exploring their dual relationships. Melville's "Samourai" is a study into minimalist storytelling, concentrating on establishing a menacing mood devoid of feelings, almost nihilistic in nature (watch for the stunning opening shot). Inhabited by rain and darkness (which are classic 'film-noir' motifs), and a sense of encroaching doom. At the center is Melville's hero 'le samourai', played with easy detachment by Alain Delon. One of the cinema most charismatic actors, Delon brings a stoic, beautiful presence to create of the most unique of character. Melville's oftentimes (arty) extended pacing makes the film not for all viewing tastes.

QUOTE: Jef: "I never loose. Never really."

Melville's cool direction and Delon's cool acting come together perfectly in this truly groundbreaking movie. Melville's sense of detail rivals that of Robert Bresson, every shot is finely crafted. Delon's acting is brilliant, although the character does not say much - we get a sense of what he is thinking and who he is through his actions. This hired killer is, surprisingly, the most likeable person in the film. Like most great films, the ending is an open parable. We would like to think Jef's gun was left empty on purpose and that his gesture was a sort of ritualistic suicide (the samurai theme) - but we cannot know this for certain.