Jean-Pierre Melville’s 1967 French classic Le samouraï (The Samurai) is a testament to why people love cinema. And if it’s not considered as such, then it damn well should be. Its mere existence is a miracle of the hybrid hitman/samurai genre of lone wolf archetypes. Its influence shines in many contemporary works, from John Woo’s The Killer (1989) to Nicolas Winding Refn’s Drive (2011) to Jim Jarmusch’s spiritual remake Ghost Dog: Way of the Samurai (1999) to David Fincher’s latest film The Killer (2023). It’s almost a certified fact that your favorite director (especially if they deal in lead, hitman and/or samurai archetypes) know this man’s name and his influential work. Melville’s stylized masterpiece follows Jef Costello (Alain Delon), a hitman with samurai instincts who finds himself in dangerous crosshairs after a successful hit. As a determined police investigator (François Périer) puts on the cops hot his tail, Jef must discover the identity of his unknown, ruthless employer.
Alain Delon as Jef Costello in LE SAMOURAÏ. Photo courtesy of The Criterion Collection.
“I never talk to a man holding a gun.” “Is that a rule?” “A habit.” This exchange just scratches the surface of this film’s slick, “cool” vibe. If there’s ever been a film to showcase how films about contract killers can be cool, this is the one. Costello, played by the legendary “cool” and handsome Alain Delon (The Leopard) is the strong, silent type. He lives alone, sharing space with no one but his pet bird; he has a lover (Jane, played by Alain’s wife, the beautiful Nathalie Delon (They Call It an Accident)), but she’s not his girlfriend. He’s essentially the second fiddle, the “other man;” he steals vehicles with quick efficiency; he lightly gambles; and he executes his kills clean with few to no witnesses. He’s a man of loneliness and solitude. Even his jazzy theme song (scored by the great François de Roubaix (Minoïe)) has a beautiful, lonely sound. Donning a hat and raincoat, Jef is the contemporary epitome of a lone wolf samurai. Within its first 30 minutes, Le samouraï establishes character and tone so well that other factions, such as plot and pace, are forgiven as the world we’re thrown into is rich enough that plot and pace aren’t necessary (more on that later). In addition to Jef, all of the characters here move with a certain methodology — cool, efficient, and largely unseen. In a sequence where a bug is planted, police officials move with such sly efficiency in the planting of the device that, if the scene were viewed out of order, you would easily confuse the officials for being on Jef’s side rather than the opposite. This playing field that Melville establishes is a levelled one and it keeps the stakes balanced as the film moves forward.
A scene from LE SAMOURAÏ. Photo courtesy of The Criterion Collection.
In contrast to Alain Delon’s laconic performance of Costello, François Périer (Nights of Cabiria) delivers an excellent supporting performance as the Commissaire, the police investigator tasked with putting Costello at the scene of the crime. As Jef stays merely one step ahead, the Commissaire keeps a levelled head, just as patient (and methodical) as his prey. In one standout long take, the Commissaire goes so far as to put the pressure on Jane. As she tries her best to keep her poker face (some great acting work on Nathalie’s part), Périer leans in, like a cautious, gentle mountain lion circling its prey before it digs in with polite threats of what could be, including punishment and ridicule. He is a character that puts himself on the right side of law but whose righteousness should not be confused for weakness. Other notable turns include the stunning Cathy Rosier (Chap’la) as Valérie, a nightclub pianist who chooses not to identify Jef at the scene of the crime because of a soft spot she has for him; and Jacques Leroy (The Red Circle), who pulls off an enigmatic performance as “Man in the passageway”, a character that sets in motion a new set of problems for our protagonist in a stunning gunshot sequence.
Cathy Rosier as Valérie in LE SAMOURAÏ. Photo courtesy of The Criterion Collection.
With all of its terrific traits as an influence film, Le samouraï is a film that requires something most audiences these days aren’t willing to give — patience. As a thriller, samouraï doesn’t carry as many thrills as most contemporary films. There’s a lot of slinking around, set piecing, and moving in shadows — all we need is Henry Mancini’s ”The Pink Panther Theme” to make the cycle complete (even though François de Roubaix’s great score is enough to fit that bill).. But, for those who choose to give Melville’s work room to breathe (or cook), they are rewarded in spades, all the way up to the film’s heartbreaking final scene. What it loses in thrills and pace, samouraï makes up for in tone, atmosphere, and beautiful cinematography. The night comes alive with blue hues and established atmosphere as Jef stalks the streets, a loner in a land that envelopes him, and in the same breath, ignores him. Even for a film made in the ‘60s, samouraï shows that Melville’s knack for great lighting and excellent staging is second to none. The lighting is gorgeous, whether we are following Jef in florescent-lit hallways, dark alleyways, or in lavish nightclubs. Interrogations, stakeouts, confrontations, and even heart-to-hearts are staged with an impeccable eye that has been imitated for generations.
Alain Delon as Jef Costello in LE SAMOURAÏ. Photo courtesy of The Criterion Collection.
The updated 4K restoration of this film is nothing short of beautiful. The blue hues of city nightlife are in great contrast with Jef and his grey raincoat, and the silver-tinged beauty of the nightclub where Jef’s story is set in motion is gorgeous. In other words, this updated release from Criterion has made a beautiful film about murder and loneliness even more beautiful. As far as supplemental material, the amount here may not be as hearty as in other Criterion releases, but there is still a good amount to chew on. There’re archival interviews with Melville himself as well as with Alain Delon, François Périer, Nathalie Delon, and Cathy Rosier; interviews with “Melville on Melville” editor Rui Nogueira and Ginette Vincendeau, author of Jean-Pierre Melville: An American in Paris; a short documentary about the collaborative friendship between Jean-Pierre and Alain; a theatrical trailer; and a booklet including an essay by film scholar David Thompson, a piece of appreciation from director John Woo, and excerpts from “Melville on Melville.” This edition, rather this film, is a must-have for any lover of hitman cinema, gangster cinema, samurai cinema, or cinema in general.
Le samouraï Special Features:
- New 4K digital restoration, with uncompressed monaural soundtrack
- One 4K UHD disc of the film presented in HDR and one Blu-ray with the film and special features
- Interviews with Melville and actors Alain Delon, François Périer, Nathalie Delon, and Cathy Rosier
- Interviews with Rui Nogueira, editor of Melville on Melville, and Ginette Vincendeau, author of Jean-Pierre Melville: An American in Paris
- Melville-Delon: D’honneur et de nuit (2011), a short documentary exploring the friendship between the director and the actor and their iconic collaboration on Le samouraï
- Trailer
- An essay by film scholar David Thomson, an appreciation by filmmaker John Woo, and excerpts from Melville on Melville
- New cover by Polly Dedman
Available on 4K UHD Blu-ray Combo, Blu-Ray, and DVD July 9th, 2024.
For more information, head to the official The Criterion Collection Le samouraï webpage.
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Categories: Films To Watch, Home Release, Recommendation
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