El perfecto asesino

Luc Besson's movie Léon (The Professional) gives us an intense story which is maximized in potential by the casting of the movie done by Todd Thaler. Every aspect of the movie delivers to the audience and makes an impressive overall package. Jean Reno plays a character named Léon who has learned to repress his emotions in order to perform his job as a "cleaner", or hit-man. His secluded world is shattered by the young girl named Mathilda who lives on the same floor as he does in an apartment building. When she turns to him for help, he learns about living a normal life, even if the circumstances which unite them are far from normal.

The performance delivered by then twelve-year old Natalie Portman as Mathilda is nothing short of brilliant. Her ability to relate to others with body movement and facial gestures is matched by few, she really brings raw emotion and believability to a difficult role. Mathilda and Léon are unexpectedly thrown together, but learn to value life from their chance encounter, and how valuable a friendship can be.

Jean Reno as Léon gives us a solemn and calculated character who sets all of his energy on his assignments until her is given something else to care about. Mathilda gives him the daughter that he never had, while Léon serves as a father and friend to her. Gary Oldman, as the corrupt DEA Agent Norman Stansfield, offers the viewers an amazingly wired and electrical performance which pushes the envelope. He moves the story along by his actions. Oldman offers us a memorable portrait of a sadistically obsessed man who stops short of nothing to get what he wants.

The Professional is what movie-making is all about. Without the overuse of special effects, a large shooting location, or a commercially star studded cast, we are given all that could possibly be asked for in a movie. Portman, Oldman, and Reno, along with Danny Aiello as the hit-contractor Tony remind us that there is no substitute for great acting. There are elements of comedy, drama, and action, and great original music by Eric Serra adds to the energy the film already encapsulates. The most impressive thing about the movie is its story which is basic but is maximized by all the other elements which go into the making of the movie. Simply put, an intense and impressive movie.

This film, better known in the U.S. as "The Professional", is a wonderful and intense film. Jean Reno plays his role as a "cleaner" with incredible subtlety. Leon tries to keep his emotions completely suppressed, yet Matilda (in an extraordinary performance by a young Natalie Portman, who is destined to become a very powerful actress into her adult life) bring out in him a new-found joy for life that accompanies his growing paternal instincts. But, the most dynamic element of this film is undeniably Gary Oldman's performance as a wildly sadistic and crooked DEA agent with his own narcotic-induced demons. His obsessions eventually lead him to the brink of absolute madness in his hunt for the cleaner. Truly, this is Oldman's finest performance to date, worthy of Oscar glory, though sadly forgotten. And so, Luc Besson did indeed top his triumph of "La Femme Nikita" by far with this masterpiece. Though, I cannot exactly praise his most recent effort with the sci-fi misfire, "The Fifth Element."

An interview with Anne Parillaud, in the Evening Standard, 24.8.90, it was said that the message of Nikita is not one of violence but the idea is that people who are full of despair and missing love are not alone.

This idea continues in Léon. Léon was Besson's first foray into international film production. The similarities, or parallels, between Nikita and Léon are undoubted. Both the central protagonists attempt to come to terms with their dysfunctionality, to society, against a background of violence, which they both continue to act upon as the agent of someone else. There is no clean difference (we may also include Le Dernier Combat for comparison.) The only difference is gender.

I always found that until obtaining the "Version Integral" there was a character hole in the plot. The original cut released for US audiences was felt, by Besson, had an "offending" scene cut which ruined later scenes. The American test audiences hated it, seeing it as perverse and paedophiliac. The film was still panned by US critics as quasi-child pornography on general release. What it to be understood about this film, and this is what infuriated Besson, is that the film is about pure love. Not sex, which is all the Americans, could see.

And so we have ascertained that the characters in Besson's films are, simply, great. Then there is the action which is all the grace and style of Nikita. Typical of Besson's style with fast action-shooting and violent characterisation. This has to be one of Jean Reno's and by far Natalie Portman's best screen performance. To me, Gary Oldman plays his part to the tee, said by some magazines to be the best screen bad guy - it is one of his best performances.

Stylisation and excess are hallmarks of Besson's work. Characters are larger than life. Décors are in excess of realism. Besson's characters lack psychological depth. "The sumptuous and the ornate cohabit with the violent or the vulgar." Besson's use of excess is also extremely playful mixing violence with humour. Besson's work appeals to the tastes of popular culture and may not please that of the elite - arguably a reason for the rejection of his work by many intellectual film journals.

I have yet to hear of a person putting a bad word against this film. There is nothing I can personally fault so I give this film 10/10, a score only two other somewhat different films hold in my IMDb list of 345 films - "The Wizard of Oz" and "La Cité des Enfants perdu". If you like French Cinema or consider yourself a cinephile you must see the latter.

Leon is one of the most emotionally intense movies ever made. French director Luc Besson uses everything: actors, music, camera angles, lighting to create an unique experience - "It's not realism, it's not naturalism - it's heightened reality" as Gary Oldman very well put it.

In "The making of The Professional" Besson says "If I imagine somebody in the street try to knock on my daughter, I kill the guy, in five seconds. I kill him, and I think "It's in me, I'm a beast!" On this part we can't forget that a part of us, the genetic things inside are much, much older than The Ten Commandments". He certainly uses visceral scenes to create very strong emotion in the movie - the blood running from Mathilda's nose or Stansfield's unforgettable "EVERYONE!" are just a couple of examples. The music and the sound are excellent and are used in a masterly fashion - you can hear Fatman's heart beating desperately or a low claustrophobic sound when Stansfield turns to look at Mathilda's father.

However Leon does not work only on this primary level, it also has an intelligent story. It may seem to be almost a fairy-tale, but don't be fooled - just like his character Besson is serious. This movie has a message: without love we are dead, even if we don't see it. Only true love give meaning to our lives: "everything else reminds me a big yogurt: warm and rancid" as Mathilda says in the original script, which is available on the net under the name Leon Version 1. Is this true in "real life"? I don't know but this movie can make you wonder.

Then of course there's the sensuality. It's hypocritical to deny it, the camera interacts with Mathilda in a mesmerising fashion. It's not sick and it's not degrading: it's art, subtle and beautiful.

Leon is not perfect but it has so many great moments that all its flaws can be forgiven. It's a movie that really should not be missed, unless you are concerned with its amorality. And don't be - Leon is less violent than many action movies and the unusual relationship between the main characters is handled mostly with genuine feeling and tact.

"...if it's from a person who doesn't care about it."

What really stands out for me (aside from the really excellent direction of the action sequences) is the too-brilliant for its own good script. Oldman,Reno, and Portman deliver lines that would seem goofy if spoken by lesser performers. Oldman especially chews the scenery in a way that's both amusing and utterly menacing. I wonder if his Beethoven obsession is a nod to the ultra-violent Alex from A Clockwork Orange?

The American version ("The Professional") was the first version I saw. I'd originally had no real intention of seeing it because I'd read a pretty savage review of it likening it to child pornography. Clearly this particular reviewer had his head firmly planted in his rear. I'm surprised he could find room what with that tremendous stick in the way. Anyway, once I finally saw "Leon" for myself - thanks to my cinemaphile grandfather - I observed no such thing. This wasn't smut, it was love. Leon has no interest in Matilda sexually, but loves her as a father would love a daughter.

If you have a choice then go for the longer director's cut. You get about 15 minutes more film - and not just filler. These are scenes that truly expand upon the story.

My only complaints are about the almost complete under use of the completely underrated Danny Aiello, and Oldman's single dimensional evilness.