Le samouraï (1967)

Director:

Jean-Pierre Melville

Writers:

Jean-Pierre Melville (writer)
Georges Pellegrin (writer)

Release Date:

25 October 1967 (France)

Genre:

Thriller | Crime | Drama

Tagline:

De kaldte ham Samoraien - den ensomme morder

Plot:

Hitman Jef Costello is a perfectionist who always carefully plans his murders and who never gets caught...

Plot Keywords:

Murder | Hitman | Alibi | Tiger | Robbery

Cast

Alain Delon	...	Jef Costello
François Périer	...	The Superintendant
Nathalie Delon	...	Jane Lagrange
Cathy Rosier	...	Valérie, la pianiste (as Caty Rosier)
Jacques Leroy	...	Gunman
Michel Boisrond	...	Wiener
Robert Favart	...	Barkeeper
Jean-Pierre Posier	...	Olivier Rey
Catherine Jourdan	...	Hatcheck Girl
Roger Fradet	...	1st inspector
Carlo Nell	...	2nd inspector
Robert Rondo	...	3d inspector
André Salgues	...	Garage keeper
André Thorent	...	Policeman / cab driver
Jacques Deschamps	...	Policeman

Also Known As:

Frank Costello, faccia d'angelo (Italy)
The Godson (USA)

Runtime:

105 min | USA:101 min

Country:

France | Italy

Language:

French

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Singapore:PG | Argentina:13 | Australia:PG | Finland:K-16 | Norway:16 | Sweden:15 | UK:PG | USA:PG | West Germany:16

Filming Locations:

Châtelet, Paris Metro, Paris 1, Paris, France

Company:

Compagnie Industrielle et Commerciale Cinématographique (CICC)

Trivia:

Melville worried how he was going to shoot the scene where Jef drives the stolen car right into the scrap garage. Without missing a beat, Delon drove the car down the narrow alley and into the garage in one shot.

Goofs:

Factual errors: When rounding up suspects the inspector refers to the population as 10 million. The 1968 population of Paris city proper was only 2.6 million. The population of the urban area was only 8.2 million.

Quotes:

Jane Lagrange: If I understand you right, I'll have no problems if I perjure myself. If I insist on telling the truth, then I can expect trouble. Am I right?
Superintendant: Not quite. Because the truth isn't what you say, it's what I say... despite the methods I am obliged to employ to get at it.

Movie Connections:

Referenced in Un flic (1972)

An ultra stylized icon of urban cool

Melville's masterpiece about a contract killer, a modern day samuraï. He makes brilliant use of the city he loved so much, Paris. The feel, the sounds, the streets, the noise, it's all hauntingly cold and distant but at the same time he makes Paris seem like the coolest city in the world.

In the beginning of the film Melville uses a beautiful static shot of over 4 minutes to establish the audience with a seemingly empty room, then we see smoke circling upwards. There must be someone in the room but it's practically impossible to determine where the smoke is coming from. Finally Jeff Costello gets up from his bed, which wasn't recognizable as such in the first place, and appears on screen. The whole set-up is more reminiscent of a moving replica of a painting by the surrealist Paul Delvaux than anything else in modern cinema. Another surreal set piece is when after his first hit, all possible suspects are brought in at a police station, including Delon himself. Not one by one but all of 'em at the same time. In the next scene we see at least a hundred "gangsters", all wearing trench coats and hats, in a large hall, where they will be interrogated "en plein public". Genuinely strange procedures but handled with such care and stylishness that it becomes completely believable. It gives the somewhat humorous suggestion that the streets of Paris are populated by hundreds, even thousands, of trenchcoat-wearing gangsters, all loners, only seeing each other at card games and occasions like this.

Alain Delon is the perfect embodiment of gangster coolness in this career-defining role as a hit-man in Paris, a modern-day samuraï. "Le Gangster", as the French lovingly call them. Off course, these gangsters don't exist anymore and they probably never existed at all. French Gangsters must have been redefining their look after seeing Delon in this film. His association in real life with French criminal circles, in particular the Marseille underworld, has always given his performances a very strange aura.

As a kid, I regularly visited my grandmother who lived near the city of Marseille and on French television I saw lots of French gangster movies (well, my parents let me watch with them). Alain Delon was in quite a few of them. When I grew older and could identify most of the French screen legends, Delon as no other came to represent the ultimate gangster. An stylized icon of urban cool. I'm also convinced that his character Jef Costello in Le Samouraï was the inspiration for the hissing and whispering fellow in the trench coat in Sesame Street (did he have a name?), something like a gangster, a criminal. A mysterious strange man you should avoid as a kid. I'll be damned if I'm wrong, but I still see Alain Delon in Sesame Street!