Le Samouraï

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Le Samouraï
LeSamourai.jpg
Directed by Jean-Pierre Melville
Produced by
Written by
  • Jean-Pierre Melville
  • Georges Pellegrin
Starring
Music by François de Roubaix
Cinematography Henri Decaë
Edited by
  • Monique Bonnot
  • Yolande Maurette
Distributed by S.N. Prodis
Release dates
  • October 25, 1967 (1967-10-25) (France)
Running time 105 min
Country
  • France
  • Italy[1]
Language French

Le Samouraï (French pronunciation: ​[lə samuʁaj]; The Samurai, Italian: ''Frank Costello faccia d'angelo'') is a 1967 French-Italian crime film directed by French filmmaker Jean-Pierre Melville, starring Alain Delon as Jef Costello. The film is a classic of the noir catalogue and noted as a distinct action thriller, often repeated but never equaled. Delon's character is impervious and too obscure to form any kind of benchmark but the films and suspenseful rhythm is much celebrated.

Plot[edit]

Hitman Jef Costello (Delon) lives in a single-room Parisian apartment whose spartan furnishings include a little bird in a cage. A long opening shot shows him lying on his bed, smoking, when the following text appears on-screen:

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)

Costello's methodical modus operandi includes ironclad alibis involving his lover, Jane (Nathalie Delon). Having carried out a contract on a nightclub owner, he is seen leaving the scene by several witnesses, including piano player Valérie (Cathy Rosier). Their statements are inconsistent but the investigating officer (François Périer) believes Costello is his man. Costello loses a police tail and gets to a meeting point on a subway overpass where instead of getting paid, he is shot and wounded by a man sent by his employers. Having bandaged his wound and rested, he returns to the nightclub and somehow bonds with the piano player. In the meantime, police officers bug his room, which agitates the bird in its cage. Upon returning, Costello notices some loose feathers scattered around the cage. Suspecting an intrusion, he searches his room, finds the bug and deactivates it.

In the meantime, the police ransack Jane's apartment and offer her a deal: withdraw your alibi for Jef and we will leave you alone. Jane rejects the offer and shows them the door.

Back in his apartment Costello finds himself held at gunpoint by the overpass shooter who gives him money and offers him a new contract (the intended target is not revealed to the audience at this point). Costello overpowers him and forces him to disclose the identity of his boss, a man by the name of Olivier Rey (Jean-Pierre Posier).

Following a chase scene in the Métro and a goodbye visit to Jane, he drives to Rey's home, which turns out to be the same house in which the piano player lives. Costello kills Rey and drives to the nightclub.

This time he makes no attempt to conceal his presence. He even checks his hat but does not accept the hat-check ticket. Having put on his white gloves in full view of everyone, he walks over to the stage where Valérie advises him to leave. When he pulls out his gun and points it at her, she quietly asks "Why, Jeff?" and he replies, "I was paid to." After a moment of staring, the audience hears gunshots, but not from his gun. Costello falls to the ground and dies. A junior police officer tells Valérie she is lucky the police were there because otherwise Costello would have killed her. But when his boss picks up Jef's gun, it is revealed that he had removed all the bullets before entering the club.

Alternative ending[edit]

In an interview with Rui Nogueira, Melville indicated that he had shot an alternate version of Jef's death scene. In the alternative ending, which is actually the original version as Melville had written in the script, Costello meets his death with a picture-perfect grin à la Delon. The scene was changed to its current form when Melville angrily discovered that Delon had already used a smiling death scene in another of his films. Still images of the smiling death exist.

Influence and legacy[edit]

The film has influenced other works, listed in chronological order:

  • Walter Hill's 1978 film The Driver features a similar dynamic between a reluctant female witness and, this time, the getaway driver, not the assassin. Ryan Gosling's nameless protagonist in the similarly named 2011 film Drive also shares many key characteristics with Jef Costello.[2] George Clooney's assassin hiding in a small Italian village in Anton Corbijn's The American is also considered to bear considerable resemblance to Le Samouraï.[3]
  • Hong Kong director John Woo's 1989 film, The Killer, was heavily influenced by Le Samouraï's plot, the bar's female pianist being replaced by a singer. Chow Yun-fat's character Jeffrey Chow (international character name for Ah Jong) was obviously inspired by Alain Delon's Jef. The inspiration, or homage, is confirmed by the similarity in the character names. Woo acknowledged his influences by writing a short essay on Le Samouraï and Melville's techniques for the film's Criterion Collection DVD release.[4]
  • Jim Jarmusch paid homage to Le Samouraï with the 1999 crime-drama, Ghost Dog: The Way of the Samurai, starring Forest Whitaker as a meditative, loner assassin who lives by the bushido code. In the same manner that Jef Costello has a huge ring of keys that enables him to steal any Citroën DS, the hitman Ghost Dog has an electronic "key" to break into luxury cars.[5][6]
  • Hong Kong director Pang Ho-Cheung's 2001 crime-and-filmmaking comedy You Shoot, I Shoot features Eric Kot as a hitman who idolizes Alain Delon's Jef, dressing like the character, and speaking to him via a Le Samouraï poster in his apartment.[7]
  • Madonna's 2012 song "Beautiful Killer" is an homage to Alain Delon. The song alludes to Le Samouraï and Delon's Jef: "You are a beautiful killer / I like your silhouette when you stand on the streets / Like a samurai you can handle the heat / Makes me wanna pray for a haunted man..."[8]

The film is ranked #39 in Empire magazines "The 100 Best Films Of World Cinema" in 2010.[9]

The film is considered a cult classic and has the distinction of being one of the few films to have a 100% favorable rating at Rotten Tomatoes.[10]

See also[edit]

References[edit]

  1. ^ "Le SAMOURAÏ (1967)". British Film Institute. Retrieved October 26, 2012. 
  2. ^ Thomson, David (September 20, 2011). "Thomson on Films: ‘Drive,’ a Cool, New Noir That Degenerates Into a Bloodbath". The New Republic. Chris Hughes. Retrieved 17 June 2013. 
  3. ^ http://www.idsnews.com/blogs/weekendwatchers/?p=7004
  4. ^ Amith, Dennis (April 18, 2010). "Le Samourai – THE CRITERION COLLECTION #306 (a J!-ENT DVD Review)". J!-ENT. Retrieved 18 June 2013. 
  5. ^ Hoberman, J. (February 29, 2000). "Into the Void". The Village Voice. Josh Fromson. Retrieved 17 June 2013. 
  6. ^ Thorsen, Tor. "Reel Review - Ghost Dog: The Way of the Samurai (2000)". Reel.com. Retrieved 18 June 2013. 
  7. ^ Hu, Brian. "You Shoot, I Shoot". Directory of World Cinema. Retrieved 17 June 2013. 
  8. ^ Mason, Kerri (March 23, 2012). "Q&A: Martin Solveig Talks Madonna's Movie Taste & Co-Producing 'MDNA'". Billboard. Prometheus Global Media. Retrieved 17 June 2013. 
  9. ^ "The 100 Best Films Of World Cinema - 39. Le Samourai". Empire. Bauer Media Group. 2010. Retrieved 18 June 2013. 
  10. ^ "Rotten Tomatoes - Le Samouraï". Retrieved 27 June 2013. 

Further reading[edit]

External links[edit]