Léon / The Professional ~ Best movie I've seen in months

[Limewater]

Yes, this is one of my favorite films. The difference between the American and European cut are pretty great, but both cuts are excellent. I saw the American cut first before seeing the European cut.

You're right, Mozgus, this really is the high point of Natalie Portman's career. It's kind of a shame that she was such a great actress at eleven and then never really got any better.

As I recall, the previews for this film kind of sucked, so I had no interest in seeing it until a few years later when some friends of mine were talking about it.

Luc Besson has had a pretty fruitful career. Seriously, does the man write a screenplay a week or something?

-- Daniel Bishop

[corn619]

I watched it again last week on the Netflix instant watch. That movie rules, period.

[crux]

It's worth mentioning I prefer the original (which Luc Besson actually considers the "Director's Cut") over the "International Version." Natalie Portman performs so strongly in the film largely because of her inexperience (see City of God if you need to see an example of the power of inexperienced actors). One scene in particular in the version intégrale acts a good example as to the pratfalls of naivety. The dinner scene, where Mathilda is allowed to drink wine and consequently becomes inebriated, comes off forced and acts to degrade the hitman-to-father image of Léon that the rest of the movie tries to develop. I don't remember what the rest of the "extended version" constitutes, but that scene alone makes me retreat to my old VHS copy of The Professional rather than my DVD of Léon.

Jean Reno is a somewhat dimwitted, emotionally numb hitman...

Not to nitpick, but that's unfair and downright inaccurate description of the protagonist. He's emotionally cold, certainly (and who would expect less of a hitman), but I think your observation of "dimwit" is confused, as it's ignorance and naivety he suffers from. In fact, it could probably best be argued that he's emotionally juvenile; He lives a life of solitude, where his only known relationship is that of the man that sets up his hits. His best friends are plants and his only happiness comes from old movies. He's emotionally broken, but I'd say they make a pretty clear case for him being an extremely talented individual, capable of evading an entire SWAT team. I'm not sure we're ever given a reason to see him as dimwitted - just hopelessly naive.

Speaking of the SWAT team scene, the action in the movie is a strange contrast to the otherwise stark realism of a world where children are murdered because of the sins of their parents. The action, particularly during the climax, is absolutely ridiculously over-the-top. Fun to watch if I suspend disbelief, but the way he escapes death from the bullets of dozens of guns and even a rocket (in a urban apartment building - against just one man - where a child is known to be inside), nevertheless the way he walks out of the room without an ounce of suspicion, is offensively unbelievable. It's characteristic of Luc Besson (see: Nikita), but it's a shame he didn't have a bit more restraint. Luckily Léon's final scene is so well done, especially in the absolutely beautiful cinematography (the flashes of light before he hits the ground are hauntingly beautiful), that it acts as a pallet cleanser from the scenes that come before it.

And note that I am nitpicking. I barely touched upon the many of strengths - the great performances, stellar character development, fun action, great soundtrack, and potent realism - that makes the film as good as it really is.

[marurun]

I found it to be a quality film but it didn't particularly resonate with me. Still, definitely a good movie.

[Mozgus]

Jean Reno is a somewhat dimwitted, emotionally numb hitman...

Not to nitpick, but that's unfair and downright inaccurate description of the protagonist. He's emotionally cold, certainly (and who would expect less of a hitman), but I think your observation of "dimwit" is confused, as it's ignorance and naivety he suffers from. In fact, it could probably best be argued that he's emotionally juvenile; He lives a life of solitude, where his only known relationship is that of the man that sets up his hits. His best friends are plants and his only happiness comes from old movies. He's emotionally broken, but I'd say they make a pretty clear case for him being an extremely talented individual, capable of evading an entire SWAT team. I'm not sure we're ever given a reason to see him as dimwitted - just hopelessly naive.

Dimwitted might be the wrong word, but whatever. It was very obvious that between his illiteracy, facial expressions with Mathilda, and overall sluggishness to react to the unfamiliar, I still say he's a bit slow in the head.

[Limewater]

Dimwitted might be the wrong word, but whatever. It was very obvious that between his illiteracy, facial expressions with Mathilda, and overall sluggishness to react to the unfamiliar, I still say he's a bit slow in the head.

I don't think it's unreasonable to call him dimwitted. The man has a savant-like ability to kill people and avoid being killed, but he is shown to be barely functional in any other area.

And when I say savant-like, I should probably be saying superhuman. A previous commenter said something about the last action sequence being over the top, but seriously, all of them are. Leon's ability to know exactly where his targets and assailants are and what they are doing at any given moment set a tone of suspension of disbelief for the entire film. That is why I don't find the insanity of the final police assault to be out of step with the rest of the film.

[TheyCallMeTheSwede]

I loved that movie, thats movie that I rarely say "So touching, yet so brutal at the same time". One thing I do find it sad that its Portman's only good movie I could think of.

[Mozgus]

I loved that movie, thats movie that I rarely say "So touching, yet so brutal at the same time". One thing I do find it sad that its Portman's only good movie I could think of.

She was good in V for Vendetta at least. And I don't care if that movie is hated because it made changes to the graphic novel. All movies do.

[Niode]

I really enjoyed both the graphic novel and the film. Just thought I'd throw that out there. My buddies are in agreement with me as well so I know i'm not the only person out there that likes both.

[crux]

Dimwitted might be the wrong word, but whatever. It was very obvious that between his illiteracy, facial expressions with Mathilda, and overall sluggishness to react to the unfamiliar, I still say he's a bit slow in the head.

Illiteracy and the unfamiliar are both examples of ignorance and naivety. Think of every unfamiliar situation he doesn't know how to react to: They are all situations of social interactions or intimacy. He's a loner with a loner's profession; He doesn't know how to function in real relationships, so he fosters relationships with plants. Nothing of that speaks to his intelligence. If we want to speak to unfamiliar situations which he doesn't act sluggish to, think of the final scenes.

It probably doesn't help that Jean Reno is a French actor playing an Italian hitman in America.

As for willing suspension of disbelief during the entire film, there are only three action sequences in the entire film involving Léon. The first one in the beginning of the film, while certainly over the top, is less far fetched because we can presume that the hitman knows far more about his targets than the targets know about him. If we've seen enough movies about hitmen, we know that hitmen are usually well informed on how to reach their target. The second action scene, when Léon goes to rescue Mathilda, is an in and out affair. He shoots a few people at the entrance, walks upstairs and proceeds to shoot a guy eating a piece of pizza. It's only in the climax scenes where Léon is faced with overwhelming odds (including - again - a rocket in an urban apartment building with a child nearby) and walks out amongst those trying to kill him with only a single wound and no suspicion.

Speaking of the apartment building, my second favorite shot in the entire movie is during that scene, shortly before the explosion; Léon is swinging an axe to break open the wall, and the camera follows the axe to the wall in quick succession. Great cinematography.