Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
After her father and little brother are killed by her father's employers, the 12-year-old daughter of an abject drug dealer is forced to take refuge in the house of a professional murderer who by her request, teaches her the methods of his job so she can take her revenge from the corrupted DEA agent who ruined her life by killing her brother out of no actual reason. Written by
J. S. Golden
Natalie Portman was originally turned down by Todd Thaler (the casting director) due to being too young, but she returned to the auditions and performed the scene where Mathilda laments the loss of her brother. Luc Besson was so impressed with the depth of emotion she summoned during the audition that he gave her the role. See more »
During Malthilda's first "hit" with Leon, she placed her handbag on the drug-mill table. Later the handbag was still on the table when she poured some fuel on the drug. But after she lit it up, the handbag was missing. See more »
Allora, come stai, Leone?
[Tony puts out his cigarette in an ashtray]
OK. OK. Let's talk business.
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Under the "SPECIAL THANKS" heading you will find: Chevalier KAMEN (Prince of the Mash Potatoes) Byblos Bill (King of Saint Tropez) Princess Trudy (Queen of Hearts) See more »
Leon is one of the most emotionally intense movies ever made. French director Luc Besson uses everything: actors, music, camera angles, lighting to create an unique experience - "It's not realism, it's not naturalism - it's heightened reality" as Gary Oldman very well put it.
In "The making of The Professional" Besson says "If I imagine somebody in the street try to knock on my daughter, I kill the guy, in five seconds. I kill him, and I think "It's in me, I'm a beast!" On this part we can't forget that a part of us, the genetic things inside are much, much older than The Ten Commandments". He certainly uses visceral scenes to create very strong emotion in the movie - the blood running from Mathilda's nose or Stansfield's unforgettable "EVERYONE!" are just a couple of examples. The music and the sound are excellent and are used in a masterly fashion - you can hear Fatman's heart beating desperately or a low claustrophobic sound when Stansfield turns to look at Mathilda's father.
However Leon does not work only on this primary level, it also has an intelligent story. It may seem to be almost a fairy-tale, but don't be fooled - just like his character Besson is serious. This movie has a message: without love we are dead, even if we don't see it. Only true love give meaning to our lives: "everything else reminds me a big yogurt: warm and rancid" as Mathilda says in the original script, which is available on the net under the name Leon Version 1. Is this true in "real life"? I don't know but this movie can make you wonder.
Then of course there's the sensuality. It's hypocritical to deny it, the camera interacts with Mathilda in a mesmerising fashion. It's not sick and it's not degrading: it's art, subtle and beautiful.
Leon is not perfect but it has so many great moments that all its flaws can be forgiven. It's a movie that really should not be missed, unless you are concerned with its amorality. And don't be - Leon is less violent than many action movies and the unusual relationship between the main characters is handled mostly with genuine feeling and tact.
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