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.
This is the first time I watched a movie from director Jean-Pierre Melville. Watching LE SAMOURAÏ is like watching "How to Make a Great Film in 105 Minutes Only". Only a "Master" who can make such a brilliant movie. LE SAMOURAÏ teached a lot about filmmaking stuff. From storyline development, characterization, cinematography, et cetera. I'm a straight guy. But I must admit that Alain Delon is a handsome man. CLASSIC!
A coyly enthralling pairing of classic Noir & French New Wave style from the ever masterful Melville. Le Samourai's sparse, finely poised methodical approach mirrors the ritualistic nature of Delon's hitman. The beauty of Melville's patient style is that the pay-offs are breathtaking when they finally hit. The cyclical nature of his work only heightens the magnitude of the smallest change. Pure formal excellence.
The typical Melville style of the crime genre, yet in an -even for his sake- above average ambient setting. This makes this film stand out in his ouvre in terms of authenticity, although I have to admit it did not appeal to me as much as some other of his films. Nonetheless, quality stuff.