In 1967, director Jean-Pierre Melville and actor Alain Delon were at the top of their game. They each had years of experience and critical success, Melville with his films about occupied France (his 1949 feature debut Le Silence de la Mer and 1961’s Léon Morin, Priest) and crime thrillers (such as 1956’s Bob le flambeur, 1963’s Le Doulos, and 1966’s Le deuxième souffle); Delon with a string of films made by various world-class auteurs taking advantage of his nice combination of acting ability and leading-man looks (René Clément’s 1960 film Purple Noon; Michelangelo Antonioni’s 1962 film L’Eclisse; Luchino Viconti’s 1963 film The Leopard). The two would finally work together in 1967’s Le Samouraï, the first of a three-film partnership that would end with Melville’s early death at 55 in 1973.
For my money, Le Samouraï is at the pinnacle for each, as close as other films may be to the pinnacle, and cemented their legacy.
For my money, Le Samouraï is at the pinnacle for each, as close as other films may be to the pinnacle, and cemented their legacy.
- 11/21/2017
- by Trevor Berrett
- CriterionCast
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