Le Samouraï (1967) August 2, 2008
Posted by Cal in : Thriller, Non-Asian, 1960s films , trackbackDirector: Jean-Pierre Melville Main Cast: Alain Delon; François Périer; Nathalie Delon; Cathy Rosier Territory: France/Italy
Contract killer Jef Costello (Alain Delon) carries out a hit on a nightclub owner during opening hours, and is spotted upon exiting the crime scene by the house pianist Valérie (Cathy Rosier). However, when rounded up for a police line-up by the Superintendent (François Périer), Valérie denies that she’s ever seen Costello. Reluctantly, the police release him, keeping him under surveillance until they can get proof. Pursued by both the police and his employers behind the hit on the nightclub owner, Costello is also curious as to why the pianist didn’t give him away…
When you consider that this is apparently Johnnie To’s favourite film and John Woo practically gushes throughout the booklet of the Criterion DVD release, you’d have thought I’d at least have heard of this film. But it wasn’t until a fellow Hong Kong film fan mentioned him in this very blog that I became aware of the existence of Melville and Le Samouraï. Certain things are beginning to click now though, like why Chow Yun-Fat was always referred to as the Alain Delon of Asian cinema. Well, Chow Yun-Fat loses out on the style stakes but it’s not really his fault – the 60’s were a much more stylish era than the 80’s and I’m looking to get me a fedora and trenchcoat in the vain hope of pulling off a Delon.
Despite Jef Costello’s unquestionable cool, his lifestyle is not too enviable. He lives in a hovel of an apartment with a canary as his only companion (and even here, you get the impression he only keeps the pet because it serves a practical purpose). There are no nick-knacks or diversions in his spartan flat, and the only thing that comes close to decoration is a collection of empty mineral water bottles on top of his wardrobe. His only real contact in the human world is his “alibi” Jane Lagrange (Delon’s then-wife Nathalie), but he treats her so casually and indifferently you can’t tell if they are friends, lovers or just working together as a means to an ends.
The film has style outside its main star, though, and the film has a chic that was only achievable for a short space of time in the mid-to-late sixties. The colours used are mainly just varying shades of grey, often making you think Melville might as well have shot the film in black and white. It is a very minimalist film, and the lack of dialogue in many scenes (it’s almost ten minutes before the first line of dialogue is delivered) adds to the distinctive style. The exterior shots of the city of Paris are also excellent. This is the only film I’ve seen set in Paris where the Eiffel Tower is not even in a single shot – probably because this is a French film and it’s only us foreigners who need those establishing shots to show we’re in the City of Light and not, say, Istanbul.
It’s not all style and no substance, though. The plot is compelling enough, although the pace is a trifle more pedestrian than is fashionable today with a surprisingly lengthy section where suspects are gathered at the police station for an identity parade. He wonders why the pianist Valérie didn’t shop him straight to the cops and suspects she’s up to no good. That doesn’t stop him obviously developing feeling for her though, even if she’s working for the organisation behind the hit on the nightclub owner. Like Jef’s flat, there’s little in the film that is superfluous, and the urge to find out what’s going to happen is strong.
At the end of the day, it’s the character of Jef Costello that intrigues most. His solitude, and his abstinence from the most basic human comforts make us want to know more about him. That he’s a killer (and a damn fine one) adds to his mystery. Where did he learn his skills, for instance, and what made him become the way he is? When he refuses his ticket when checking in his hat, we suspect we’re never going to find out. But although we have few answers to our questions, the ride was worthwhile.
Comments»
Shaw star Ti Lung was deliberatly named to sound like Alain Delon; producer Mona Fong being a fan of the french actor
I always find it interesting what films influence a director (like this film influencing To and Woo). Melville was influenced by Odds Against Tomorrow (1959) and Asphalt Jungle (this was mentioned in an interview on the Le Cercle Rouge Criterion DVD; I own both, but have not seen them yet) and a variety of other “film noir” movies. His style is very much French though (or French film noir
).
I’m slowly going through Meville movies, I would recommend Le Cercle Rouge next since Woo used one scene directly in Hardboiled, as well it’s cool
).
For me, I just love Le Samouraï. I want to do a review on this eventually, so won’t mention much on this film. However, Melville does have certain traits that he uses in his films over and over. For example, when Delon looks back at his bird when leaving his apartment, he reuses this scenerio for many of his films (spoiler, so don’t read past this). That look always represents “a last look”. He knows he is going to die, but he feels sorry for the bird, since it has been his companion, probably the only thing he feels sorry for (this use of foreshadowing is quite common in his films). He also reuses a scene where the (anti) hero looks into the mirror and adjusts himself (usually a hat).
; I’m writing more than I thought I would.
Anyways, I’m glad you found this worthwhile. I would recommend it to any serious fan of cinema.
“Another example of bird imagery in Hard Boiled, the cranes made by Alan, alludes to Le Samourai …” John Woo The Films by Kenneth E. Hall (I have more I’ll write here later)
Thank for the comments, guys. Yes Shawn, rest assured I had ordered Le Cercle Rouge almost before the end credits had finished on this one. Look for a review…uhm, sometime. I actually have a massive backlog of films now. RUNNING OUT OF TIME, TRIANGLE (yes, still), 14 AMAZONS, MACHINE GIRL, KID FROM KWANTUNG, TEN TIGERS OF KWANTUNG, POSTMAN BLUES, the last couple of SISTER STREET FIGHTER films, Belgium horror/comedy THE ORDEAL, THE EYE, SENTIMENTAL SWORDSMAN and more - all of which should be coming to this very blog over the next decade or so!
Looking forward to your future reviews. One day I’ll get to another one myself that will be ignored as usual
. Realling looking forward to your RUnning Out of Time (I need to rewatch, but I want to get the Tai Seng version). MACHINE GIRL I own, but I will wait on your review to consider adding to my personal queue.
“Delon’s own trenchcoat is evocative of the film noir and gangster genres, recalling the trenchcoated protagonists of such films as Out of the Past, and theseminal This Gun For Hire.”
This was also mentioned in that John Woo book mentioned above. OUT OF THE PAST is a must watch (in Roger Ebert’s great movie list, Time Magazine’s top 100 films), I own but have not seen THIS GUN FOR HIRE so no comments there.
Of course, this “chaining” of movies just show that everything is influenced from something
.
Yes, looking forward to the upcoming films myself. You ought to get your own blog! Incidentally, I meant to mention on the HKMDB when you talked about EXILED: I would definitely see this one next. I thought it was brilliant. My proper review for it (I only did a few words on the HKMDB) is here: http://www.obsessedwithfilm.com/dvd-reviews/exiled.php
I don’t think you’ll be disappointed.