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.
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
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
All of the interiors of Léon's apartment were shot in Paris; all of the shots of the outside corridor were shot six weeks earlier in New York. See more »
Léon's milk rises and falls in his glass, depending on the camera angle, immediately prior to the charades game. He pours a less than full glass for himself when his back is to the camera, but it is at the top line when the camera faces him. As he talks with Mathilda, there are several shots back and forth with the level changing back and forth each time. 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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