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That is the assurance that hitman Jef Costello (Alain Delon) gives to a group of poker-playing "friends" that will provide him with an alibi. He never loses, and based on what little we see of his "work ethic" and process, we believe it to be true, whether it is poker or his dangerous work. Costello is careful, methodical, organized, and precise.
Le Samouraļ follows Costello, who lives in solitude in Paris as he goes from job to job. But when he is spotted after a hit, the circle starts closing in on him with both his employers and a determined police officer hot on his tail. What they don't know is that Costello never loses. Never really.
This film came highly recommended by many, and you can easily understand why. It is stylish as hell, and Costello is cool as ice. But in addition to that, Melville manages to create a very solid atmosphere of tension, despite the simplicity of the story. As we follow Jef, and we see the machinations around him, we can't help but root for him.
There are a bunch of strands that Melville could've gone down to expand the story; whether it is the background on Jef's girlfriend (Nathalie Delon), or the true motivations of the piano player that spots him (Caty Rosier). Instead, Melville keeps it lean and simple. Much like Costello, he's in and out of the story.
Part of me wishes there was a bit more to it. Maybe because we're left with questions, or maybe because we want to spend a little bit more time with this enigmatic character. Perhaps to see how else he confidently slips out of tight spots, or maybe to understand more of his mindset. But what is evident is that, even down to the end, he never loses. Never really.
Grade:
LE SAMOURAĻ
(1967, Melville)
(1967, Melville)
"I never lose. Never really."
That is the assurance that hitman Jef Costello (Alain Delon) gives to a group of poker-playing "friends" that will provide him with an alibi. He never loses, and based on what little we see of his "work ethic" and process, we believe it to be true, whether it is poker or his dangerous work. Costello is careful, methodical, organized, and precise.
Le Samouraļ follows Costello, who lives in solitude in Paris as he goes from job to job. But when he is spotted after a hit, the circle starts closing in on him with both his employers and a determined police officer hot on his tail. What they don't know is that Costello never loses. Never really.
This film came highly recommended by many, and you can easily understand why. It is stylish as hell, and Costello is cool as ice. But in addition to that, Melville manages to create a very solid atmosphere of tension, despite the simplicity of the story. As we follow Jef, and we see the machinations around him, we can't help but root for him.
There are a bunch of strands that Melville could've gone down to expand the story; whether it is the background on Jef's girlfriend (Nathalie Delon), or the true motivations of the piano player that spots him (Caty Rosier). Instead, Melville keeps it lean and simple. Much like Costello, he's in and out of the story.
Part of me wishes there was a bit more to it. Maybe because we're left with questions, or maybe because we want to spend a little bit more time with this enigmatic character. Perhaps to see how else he confidently slips out of tight spots, or maybe to understand more of his mindset. But what is evident is that, even down to the end, he never loses. Never really.
Grade: