#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In Paris, Jef Costello is a lonely hit man who works under contract. He is hired to kill the owner of a club and becomes the prime suspect of the murder. However, his perfect alibi drops the accusation against him. His girlfriend Jane, her client and citizen above any suspicion Wiener and Valerie, the pianist of the club and main witness of the crime, provide the necessary evidence of his innocence supporting his alibi. Free, he is betrayed and chased by the gangsters sent by the one who hired him and also by the police, not convinced of his innocence. Jef seeks out who has hired him to revenge.
Plot: In a career-defining performance, Alain Delon plays Jef Costello, a contract killer with samurai instincts. After carrying out a flawlessly planned hit, Jef finds himself caught between a persistent police investigator and a ruthless employer, and not even his armor of fedora and trench coat can protect him. An elegantly stylized masterpiece of cool by maverick director Jean‑Pierre Melville, Le samouraï is a razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture—with a liberal dose of Japanese lone-warrior mythology.
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|8.1/10 Votes: 48,857|
|7.9 Votes: 692 Popularity: 12.011|
Jean-Pierre Melville’s 1967 film Le Samouraï is the story of a hired assassin who slips up on a hit and his race against time to set things right. Jef Costello (Alain Delon) is given a contract to kill a nightclub owner, but on the way out he is seen by the club’s pianist (Cathy Rosier) and then gets himself picked up in a police sweep. He finds himself pursued by both a cunning detective (François Périer) and by his disappointed employers. As the film progresses, Costello manages to elude both threats while remaining true to his bushido-like code of honour.
The strongest aspect of Le Samouraï, I feel, is Alain Delon’s performance. Beginning with an utterly stoic mien and confidence, Costello gradually loses his cool over the course of the film, and Delon skillfully depicts this subtle collapse. Melville’s direction is remarkable for its ability to sustain suspense (even across multiple viewings, when one already knows how it will go down), and it’s curious how the audience is led to sympathy for this man who is basically a cold-blooded murderer. We are even denied a back story that might serve as an apology for his profession. Instead, Costello is just a robotic killing machine, but the film makes us feel concern for him nonetheless. There is also memorable soundtrack by François de Roubaix, an early example of electronic music.
Some aspects of the policework are presented in a clunky or unbelievable fashion (the detective has memorized every building in Paris, seriously?), so I cannot rate this as a flawless masterpiece. But still, it’s a good film, and part of the basic education of a cinephile: Le Samouraï has proved vastly influential in the decades since its release, and those who have seen more recent films like Jim Jarmusch’s Ghost Dog or Michael Mann’s Collateral will recognize various aspects of those to be hommages to Melville’s classic. Le Samouraï, in turn, looks back like many French films of this time to American film noir, as well as to the then-recent French New Wave.
Le Samouraï, one of the most highly praised French films of the 1960s, and justifiably so. Having only just caught it for the first time, I’m not sure what more I can say about a film that has been discussed, dissected, praised and pored over for nearly five decades now.
Plot is simplicity, hit-man Jef Costello (Alain Delon) enacts a hit but he is witnessed fleeing the scene and spends the rest of the film trying to make sure his alibi holds up. His employers want him erased so as to avoid detection themselves, the head detective on the case knows Jef did it but can’t quite close the noose around his neck, and Jef is mysteriously drawn to a sultry piano player who happens to be the chief witness against him!
Sparse of dialogue, this is a masterstroke decision by director Jean-Pierre Melville, because what chat there is makes us hang on every word being spoken. It also re-enforces the loneliness essence of the hit-man’s life. Jef’s apartment is so bland and devoid of personality, the only thing of beauty there is a bird in a cage, the metaphor of such is hard to ignore. Jef himself is beautiful, he also is perpetually in an emotionally frozen cage.
Attired in trenchcoat and fedora hat (or is it a trilby?), it’s obvious that Delon and Melville are homaging with great respect the American film noir classic cycle. It’s also quite amazing that although the film is technically filmed in colour, it still feels like one of those black and white noirs of the 40s and 50s. There’s a coldness to Henri Decaë’s (Ascenseur pour l’échafaud/Elevator to the Gallows) photography that so befits the story, the interiors are stripped of life, the exteriors almost always gloomy. And with the brilliant Delon as cool as an Eskimo’s wedding tackle, icy veneers are all the rage here.
Hugely influential, Le Samouraï deserves every plaudit that has come its way. Best thing about it is that it actually gets better on a repeat viewing, because the surreal edge disappears the next time and in its place is an awareness of what the director is doing, and with that comes an appreciation of great film noir film making. Hell! Even the finale is pure noir of heart. 9/10
exceptionally realistic and cold
For once, a bad guy who really acts like a bad guy should! This hit-man is one cold, non-descript and calculating man who plans and executes his hit with the utmost precision. About the only character I remember who did a more thorough job was the hit-man in Day of the Jackal. The police also seem very bright and competent–and repeatedly nearly trip up the baddie (Jef). Because of all this realism, I strongly commend this movie. On top of the realism, I really liked the ending. All in all, a fine film and there are no negatives that I can think of–except that this type of film is probably NOT everyone’s cup of tea, so to speak. There really isn’t any romance and no one is particularly likable, but what do you expect in a film like this?
One of the Most Perfect Alibis in a Great French Film Noir
In Paris, Jef Costello (Alain Delon) is a lonely hit man that works under contract. He is hired to kill the owner of a club and becomes the prime suspect of the murder. However, his perfect alibi drops the accusation against him. His girlfriend Jane (Nathalie Delon), her client and citizen above any suspicion Wiener (Michel Boisrond) and Valerie (Cathy Rosier), the pianist of the club and main witness of the crime, provide the necessary evidence of his innocence supporting his alibi. Free, he is betrayed and chased by the gangsters sent by the one that hired him and also by the police, not convinced of his innocence. Jef seeks out who has hired him to revenge.
“Le Samourai” is a great French film noir with a surprising end. The plot is developed in slow pace, but with an outstanding performance of Alain Delon in the role of a cold blood killer of few words. This movie presents one of the most perfect alibis that I have seen in the cinema.
My interpretation for the conclusion is the following: “Le Samourai” begins with a reference to the “Bushido Code”, which is the Samurai Code, and the title is “The Samurai”.
Jef Costello, performed by Alain Delon, is the samurai, who kills his master after his betrayal, and has been discovered by the police. Therefore, he is a modern samurai in disgrace.
In accordance with the Bushido Code, he must commit Harakiri, or Seppuku. Then he says farewell to Jane and goes to the night-club without any alibi (his “modus-operandi”) or disguise, and he pretends that he will accomplish with his contract killing the piano player, to die with honor. My vote is eight.
Title (Brazil): “O Samurai” (“The Samurai”)
Note: On 02 June 2013, I saw this movie again.
Original Language fr
Runtime 1 hr 45 min (105 min), 1 hr 41 min (101 min) (USA)
Genre Crime, Drama
Director Jean-Pierre Melville
Writer Joan McLeod, Jean-Pierre Melville, Georges Pellegrin
Actors Alain Delon, François Périer, Nathalie Delon
Country France, Italy
Awards 1 win & 3 nominations
Production Company N/A
Sound Mix Mono
Aspect Ratio 1.85 : 1
Laboratory Laboratoires Franay Tirages Cinematographiques (LTC), Paris, France
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm