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Le Samouraï (1967)

Le samouraï (original title)
After Professional hitman Jef Costello is seen by witnesses his efforts to provide himself an alibi drive him further into a corner.
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Cast

Cast overview, first billed only:
Alain Delon ... Jef Costello
François Périer ... Le Commissaire
Nathalie Delon ... Jane Lagrange
Cathy Rosier Cathy Rosier ... La pianiste (as Caty Rosier)
Jacques Leroy Jacques Leroy ... L'homme de la passerelle
Michel Boisrond Michel Boisrond ... Wiener
Robert Favart Robert Favart ... Le barman
Jean-Pierre Posier Jean-Pierre Posier ... Olivier Rey
Catherine Jourdan ... La jeune fille du vestiaire
Roger Fradet Roger Fradet ... 1er inspecteur
Carlo Nell Carlo Nell ... 2ème inspecteur
Robert Rondo Robert Rondo ... 3ème inspecteur
André Salgues André Salgues ... Le garagiste
André Thorent André Thorent ... Policier - chauffeur de taxi
Jacques Deschamps Jacques Deschamps ... Policier speaker
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Storyline

Hitman Jef Costello is a perfectionist who always carefully plans his murders and who never gets caught. One night however, after killing a night-club owner, he's seen by witnesses. His efforts to provide himself with an alibi fail and more and more he gets driven into a corner. Written by Leon Wolters <wolters@strw.LeidenUniv.nl>

Plot Summary | Plot Synopsis

Taglines:

De kaldte ham Samoraien - den ensomme morder See more »


Certificate:

GP | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Italy

Language:

French

Release Date:

25 October 1967 (France) See more »

Also Known As:

Le Samourai See more »

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Box Office

Opening Weekend USA:

$39,481, 2 March 1997, Limited Release

Gross USA:

$39,481, 2 March 1997
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

This is one of the most influential films of history. Martin Scorsese, Quentin Tarantino, Francis Ford Coppola, Jim Jarmusch, John Woo, Johnnie To, David Fincher, Bernardo Bertolucci, Aki Kaurismäki, Takeshi Kitano, Micheal Mann, Georges Lautner, Nicolas Winding Refn, Luc Besson, Joel Coen, Ethan Coen and others have all made films strongly inspired by it. See more »

Goofs

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. See more »

Quotes

Jeff Costello: Who sent you?
Gunman: I can't tell you that.
Jeff Costello: Yet you could try to kill me. Look at me. I'll ask you just once more. Who? Name and address.
Gunman: You don't know him; he's not in our league.
Jeff Costello: Don't keep me waiting.
Gunman: Olivier Rey... 73, Boulevard de Montmorency.
Jeff Costello: That's how you became unemployed.
See more »

Crazy Credits

"There is no solitude greater than a samurai's, unless perhaps it is that of a tiger in the jungle." - The Book of Bushido. See more »

Connections

Referenced in You Shoot, I Shoot (2001) See more »

Soundtracks

Martey's
Written and Performed by François de Roubaix Et Orchestre
See more »

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User Reviews

 
Melville's Masterpiece
31 October 2005 | by riskbreaker113See all my reviews

I just recently saw this film for the first time (a la Criterion) and I was completely blown away. This film can be summed up with a single word: minimalism.

This is a work of true cinema. Hollywood tends to forget that cinema is first and foremost a visual art. Le Samurai is a film that could've been made as a silent movie. The director establishes meaning not with dialog but with the best tools available to a director; editing, mise en scenes, cinematography and composition. There is a constant feeling of solitude and isolation. Even when the protagonist finds himself in large groups, his face is pale, his eyes are cast downward and he is still a constant outsider.

On another note, the film looks surprisingly modern. There's none of the graininess of many other 60s and 70s films. Rather, the lighting and the whole visual aesthetic is pitch perfect, from the black and white nightclub (dualism) to the sparse gray apartment to the subterranean eeriness of the Paris subway.

Personally, I would not recommend this film to people not interested in real cinema, people who like 'movies' rather than 'film', simply because there's a strong possibility it will seem extremely annoying and boring to you. On the other hand, if you're a fan of serious cinema, do yourself a favor and watch this film.


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