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Comments 1 - 15 of 24

Nostra's avatar


Really impressed by it, the music, the long period at the beginning without anyone talking and the sixties feeling just add to the experience. Great acting and story.
13 years 5 months ago
olf's avatar


I loved Delon in this movie. So cold and graceful. Definite fav.
12 years 10 months ago
seithscott's avatar


Elegant and sublime, mixing the samurai with the noir and crafting something truly unique. Alain Delon is such a bad ass in this movie.
12 years 10 months ago
TheMajor's avatar


Very good! After watching a bunch of bad movies out of pure interest, it feels so much better to watch a good one. I love movies!!!
12 years 6 months ago
Jonathan_Hutchings's avatar


Melville's a stud!
12 years 8 months ago
George Bailey's avatar

George Bailey

Watching this movie, makes you feel awesome!!!!
13 years 2 months ago
Ivan0716's avatar


Minimalist masterpiece.
13 years 6 months ago
Pike's avatar


This movie makes sweet love to your eyes, probably the most beautifully shot noir-in-color I have ever seen. This a tight and supremely controlled piece of work that's not boring for a second.
7 years 1 month ago
red.hexapus's avatar


Excellent. Without doubt the best french noir I've ever seen.
11 years 5 months ago
Rdgz_Dust_Speck's avatar


Fantastic. The cool assassin defined by Alain Delon. A must see.
12 years ago
Ivan0716's avatar


@sarmel, you're probably thinking about This Gun for Hire. ;)
13 years ago
Siskoid's avatar


Le Samouraï is Jean-Pierre Melville's classic minimalist hitman film and a huge influence on cinema. Blade Runner, Ghost Dog, John Woo and Tarantino's oeuvres, and heck, having just watched Johnnie To's Vengeance, it can't be a coincidence Johnny Hallyday's hitman-cum-amnesiac chef is called Costello just like Alain Delon's character in this film. It's the kind of film that proves sometimes style IS content. Melville creates two worlds here. A cool 1940s Paris right out of American gangster pictures, practically in black and white, with a star that hardly ever says a word. The other, a vibrant contemporary (1967) yet stylized Paris with an almost over-talkative character actor (François Périer as the cop). Their clash is Costello's doom. And it's hard for me not to see something of the zen engravings of Japan, in the structure and spare script (Delon famously agreed to do it when he realized 10 minutes into the script he still hadn't had a line). I'll admit to only perusing many Criterion Collection booklets, but this one I read cover to cover. In addition to the scholarly essay, there's another by John Woo and fascinating excerpts of an interview with Melville.
8 years 12 months ago
Dieguito's avatar


11 years 5 months ago
MM's avatar


I am very much one of those!
12 years 2 months ago
grit's avatar


I know lots of people who would be pleased with this movie appearing in the top 250!
12 years 2 months ago

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