An assassin’s last assignment leaves him under the surveillance of the police. He seeks out revenge on the shadowy businessman who hired him and must stay one step ahead of the police. He makes a decision that brings about surprising results.
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A classic of both cinematic cool and suppressed emotion, and still one of the best of its kind because it understands how closely the two are tied together. Delon is the perfect fallen angel in a story with very few incidents and a character arc that is barely made explicit, except to suggest that the only thing that can stop a killer is beauty and mercy. Pure movie mythology, sure—but as movie myths go, timeless.
35mm, rewatched in DCP. I only managed to rewatch the final 80 minutes of this movie which is one of the best examples of sound in cinema. Although the out-of-field does not exist in the same way, the closest cinema one can find to Melville, a previous and contemporary one, is Bresson's listening rigor, where sound is a matter as important as imagery. Besides the camera's mastery- the subway sequence is unparalleled.
A beautiful assassination thriller that's probably more revered among auteurs than any other film in the genre. A clear source of inspiration for John Woo and Luc Besson's crime films, Tarantino and Michael Mann's earlier work, the "Hitman" videogames, and so much more - and yet it's still a perfect little gem of a film in its own right. Holds up extremely well.
I was very hyped around this film, having heard only good things about it. But when I finally had the time to see it, it seemed like a total waste of time. A lot of big mistakes in the plot and characters, flat acting in Delons character and uninteresting and long shots that have no purpose, neither to the story nor the imagery. Sad to say it but 2/5
Boring. This guy's supposed to be this samurai-like assassin who never makes mistakes, but within the film's first 20 minutes, he kills someone and leaves behind 6 witnesses and is arrested overnight. Not very slick, now, is he?
Uneven crime drama from director Jean-Pierre Melville. Very slow paced, weighted down by lengthy sequences of mundane details - long, slow takes of characters walking down hallways or getting into cars, etc.- that do not really add much to the simplistic and predictable story. There are a handful of compelling moments, but overall underwhelming considering its reputation as a hallmark of the genre.