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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:

Paris was cold and wet... a killer waited in the shadows 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:

The Godson See more »

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Box Office

Opening Weekend USA:

$39,481, 2 March 1997

Gross USA:

$39,481
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

When Jean-Pierre Melville brought a copy of the script to Alain Delon, Delon asked him what the title was. When he was told the title was Le Samourai, Delon had Melville follow him to his bedroom, where there was only a leather couch and a samurai blade hanging on the wall. See more »

Goofs

The streets change from bone dry to soaking wet and raining when Jef flees from the female undercover cop in the Paris Metro. See more »

Quotes

Jane Lagrange: I like it when you come round, because you need me.
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 Submarine (2010) See more »

Soundtracks

Valérie
Written and Performed by François de Roubaix Et Orchestre
See more »

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User Reviews

 
Melville's masterpiece is pure seduction...
24 October 2004 | by i-grigorievSee all my reviews

This film starts off with the same sound like Sergio Leone's 'C'era un volta il west', but it's just that here the sound is made not by a plate, but a canary, the cold-blooded killer's canary.

This film was made in 1967, the French nouveau vague already apparent all over the place, but with much more subtle undertones than, say, a work by Truffaut.

No, Melville's films were old-school, but at the same time revolutionary, in a delicate way. Take for example the 'chase' scene through the Metro. Practically nothing happens: there are no gunfights, no combat sequences, perhaps just a small chase. But it is Melville's camera and Delon's inimitable performance that keep the audience mesmerized all the way.

The camera practically flirts with the audience throughout the whole movie, picking the most interesting angles and achieving so much practically without any effort. Delon's character changes his expression only once or twice during the movie, shoots faster than even Leone's gunslingers and never forgets to feed his canary. To me, one of the most accomplished antiheroes of the whole genre.

The dialogue is barely there, but when it is, then it's something you'd probably wish you would have come up with yourself. It is a minimalist work that achieves the absolute maximum. Simply put: one of the best crime noirs ever made.


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