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Der eiskalte Engel

Originaltitel: Le samouraï
  • 1967
  • 16
  • 1 Std. 45 Min.
IMDb-BEWERTUNG
8,0/10
63.434
IHRE BEWERTUNG
BELIEBTHEIT
4.291
883
Alain Delon and Nathalie Delon in Der eiskalte Engel (1967)
Bande-annonce [OV] ansehen
trailer wiedergeben3:25
1 Video
99+ Fotos
Eine TragödiePolizeiliches VerfahrenPolizistendramaPsychologischer ThrillerPsychologisches DramaRaubDramaKriminalitätThriller

Nachdem der Berufskiller Jef Costello von Zeugen gesehen wird, treiben ihn seine Bemühungen, sich selbst ein Alibi zu verschaffen, weiter in die Enge.Nachdem der Berufskiller Jef Costello von Zeugen gesehen wird, treiben ihn seine Bemühungen, sich selbst ein Alibi zu verschaffen, weiter in die Enge.Nachdem der Berufskiller Jef Costello von Zeugen gesehen wird, treiben ihn seine Bemühungen, sich selbst ein Alibi zu verschaffen, weiter in die Enge.

  • Regie
    • Jean-Pierre Melville
  • Drehbuch
    • Jean-Pierre Melville
    • Joan McLeod
    • Georges Pellegrin
  • Hauptbesetzung
    • Alain Delon
    • François Périer
    • Nathalie Delon
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    8,0/10
    63.434
    IHRE BEWERTUNG
    BELIEBTHEIT
    4.291
    883
    • Regie
      • Jean-Pierre Melville
    • Drehbuch
      • Jean-Pierre Melville
      • Joan McLeod
      • Georges Pellegrin
    • Hauptbesetzung
      • Alain Delon
      • François Périer
      • Nathalie Delon
    • 196Benutzerrezensionen
    • 105Kritische Rezensionen
    • 90Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Nominierung insgesamt

    Videos1

    Bande-annonce [OV]
    Trailer 3:25
    Bande-annonce [OV]

    Fotos106

    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
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    Topbesetzung28

    Ändern
    Alain Delon
    Alain Delon
    • Jef Costello
    François Périer
    François Périer
    • Le Commissaire
    Nathalie Delon
    Nathalie Delon
    • Jane Lagrange
    Cathy Rosier
    Cathy Rosier
    • La pianiste
    • (as Caty Rosier)
    Jacques Leroy
    • L'homme de la passerelle
    Michel Boisrond
    • Wiener
    Robert Favart
    • Le barman
    Jean-Pierre Posier
    • Olivier Rey
    Catherine Jourdan
    Catherine Jourdan
    • La jeune fille du vestiaire
    Roger Fradet
    • 1er inspecteur
    Carlo Nell
    • 2ème inspecteur
    Robert Rondo
    • 3ème inspecteur
    André Salgues
    • Le garagiste
    André Thorent
    André Thorent
    • Policier - chauffeur de taxi
    Jacques Deschamps
    • Policier speaker
    Georges Casati
    • Damolini
    Jacques Léonard
    • Garcia
    • (as Jack Léonard)
    Pierre Vaudier
    Pierre Vaudier
    • 1er Policier de la visite nocturne
    • Regie
      • Jean-Pierre Melville
    • Drehbuch
      • Jean-Pierre Melville
      • Joan McLeod
      • Georges Pellegrin
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen196

    8,063.4K
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    Empfohlene Bewertungen

    10riskbreaker113

    Melville's Masterpiece

    I just recently saw this film for the first time (a la Criterion) and I was completely blown away. This film can be summed up with a single word: minimalism.

    This is a work of true cinema. Hollywood tends to forget that cinema is first and foremost a visual art. Le Samurai is a film that could've been made as a silent movie. The director establishes meaning not with dialog but with the best tools available to a director; editing, mise en scenes, cinematography and composition. There is a constant feeling of solitude and isolation. Even when the protagonist finds himself in large groups, his face is pale, his eyes are cast downward and he is still a constant outsider.

    On another note, the film looks surprisingly modern. There's none of the graininess of many other 60s and 70s films. Rather, the lighting and the whole visual aesthetic is pitch perfect, from the black and white nightclub (dualism) to the sparse gray apartment to the subterranean eeriness of the Paris subway.

    Personally, I would not recommend this film to people not interested in real cinema, people who like 'movies' rather than 'film', simply because there's a strong possibility it will seem extremely annoying and boring to you. On the other hand, if you're a fan of serious cinema, do yourself a favor and watch this film.
    10Quinoa1984

    May be my favorite Melville film with a style that has inspired some, but is hard to match

    Jean-Pierre Melville took the idea of the lone gunman (perhaps more akin to the western genre than the crime genre), and created a film with star Alain Delon as a ultra-calm, smooth-operating contract killer Jeff Costello in Paris, who may be at least a little insane. The result is a blend of stylistic and thematic excellence, a suspense film where sometimes that aspect has to take a backseat to the psychological drama of the killer, and the side-story of the police procedural (headed by 'Superintendant' played by Francois Perier). The film carries very little dialog with a couple of exceptions, which gives Melville a chance to perfect his storytelling technique. Deleon, as well, was a very fit choice for the role of Costello. It's actually fascinating that Melville made this character, mostly a night owl with a look that's usually cold and hard boiled like some neo-hood from the 30's, the protagonist.

    There's also the look of the film, provided in part by Henri Decae, who would later lens Melville's epic Le Cercle Rouge. In the opening shot, were given the feeling of distortion on Costello's uniquely blank one-room apartment. Is this to bring us inside of Costello's frayed consciousness, or is it just one of those style moves done by directors in the 60's? I might go for the psychological part, but what I noticed about Le Samourai, adding to the appeal of it, was the theme of Costello's mind-set is put forth subtlety. This is a pro put into tight circumstances (getting heat from his employers as well as the police), so who is there for him to go to? Just an on & off again girlfriend (Nathalie Delon), a little bird in his apartment, and a witness to one of his contracts (the late Cathy Rosier, in a performance of some note despite the one-sidedness of her part). When the action comes, it's not as bloody as in the films it later inspired (most obvious of which are John Woo's The Killer and Jim Jarmusch's Ghost Dog), yet that too just adds on to the emotions provoked by the settings and the mis-en-scene.

    So, would I recommend Le Samourai to fans of crime films? Well, it may not to those who sole obsession are the crime films that pack all the high octane juice and gore, such as in a John Woo or Hong-Kong action film, or to the Tarantino fans that may not appreciate the patience Melville has (the deliberate pace and silences) as opposed to laughs and ultra-violence. I'd guess that Le Samourai is most successful, and why it is one of the best films I will ever see, because it is heavy on the nuance and detail, doesn't skimp on keeping the genre characters believable, and leaves the gun-play as true surprises even on repeat viewings (however, this is the kind of film to be watched maybe once every year or once ever few years, so that it keeps fresh when seen again).

    Aside from delivering the goods in terms of the story and as a drama, for the audience it seeks out it's highly absorbing and an example of subtlety in cinematic grammar. It's not a crime or police movie for the mainstream (and I'm sure some will seek this out from the under-ground buzz, start watching and say, "oh man, this stuff's in subtitles? I can't bear to watch"). Really, it's appeal will hold more to fans of the french new-wave, which Melville set off with Bob le Flambeur, film-geeks, and for those looking for a dosage of atmosphere and cool bravura directors can't seem to latch onto in recent times. For me, it is one of the truly sublime time-capsule of what the gangster/noir genre/mood can produce.
    10i-grigoriev

    Melville's masterpiece is pure seduction...

    This film starts off with the same sound like Sergio Leone's 'C'era un volta il west', but it's just that here the sound is made not by a plate, but a canary, the cold-blooded killer's canary.

    This film was made in 1967, the French nouveau vague already apparent all over the place, but with much more subtle undertones than, say, a work by Truffaut.

    No, Melville's films were old-school, but at the same time revolutionary, in a delicate way. Take for example the 'chase' scene through the Metro. Practically nothing happens: there are no gunfights, no combat sequences, perhaps just a small chase. But it is Melville's camera and Delon's inimitable performance that keep the audience mesmerized all the way.

    The camera practically flirts with the audience throughout the whole movie, picking the most interesting angles and achieving so much practically without any effort. Delon's character changes his expression only once or twice during the movie, shoots faster than even Leone's gunslingers and never forgets to feed his canary. To me, one of the most accomplished antiheroes of the whole genre.

    The dialogue is barely there, but when it is, then it's something you'd probably wish you would have come up with yourself. It is a minimalist work that achieves the absolute maximum. Simply put: one of the best crime noirs ever made.
    8blakiepeterson

    An Iconically Silky French Cocktail

    Alain Delon has had it. It's 1967, he's sitting on the hot seat of France's famed movie series, Monsieur Cinéma, and he's promoting Le Samouraï. "We have the great pleasure of welcoming Alain Delon to our show," the host says, looking in his guest's direction. "Alain Delon is in the spotlight because 'Le Samouraï' is opening this week." But the ambiance doesn't feel like a respected Inside the Actors Studio precursor; it feels more like a talk show, and Delon isn't in a good mood. He's been better known for his looks than his talents for his entire career. He's proud of the work he has done in acclaimed works like Purple Noon and The Leopard, but he finds himself taken less seriously than he'd like to be simply because he resembles a suave Dolce & Gabbana model. The Male Bardot, they call him.

    But he's 32. He doesn't want to be labeled as a pretty boy who somehow gets enviable parts any longer. So instead of saying thank you to his host's polite but slightly condescending introduction, he elaborates on the date of the film's opening. "It's this Wednesday," he smirks. Aware of his guest's snarky mood, the host tries to pick himself back up. "The posters are all over Paris, and they're very striking. 'Le Samouraï', in big, black letters."

    "Red," Delon interrupts before his interviewer can even say "letters." He's seen it all before: the host who actually knows nothing about the film but pretends to love it, the host who puts on a grin in order to appease disinterested viewers. Maybe he would have let this fly in the past, but Le Samouraï is far too important to him. He believes it to be a turning point in his undermined career. This isn't just some fluffy movie audiences hear about on a television program like it's Dean Martin's newest vehicle; this is "a work of art," he puts it. "A true auteur film in every aspect."

    He goes on to discuss the ins-and-outs of the film with the watchful eye of an obsessed movie buff, and it's unlike anything we've seen Delon do before, personally or professionally. He's always been the confident kid that whisks by with a hint of danger, an exotic woman by his side. This image, along with the entire introduction of this review, may or may not be dramatized speculation on my part, but when I picture Delon, I picture him as the guy from L'Eclisse, fiendishly charismatic but in a tug-of-war between boyhood and the idea of an adulthood in which being taken seriously is everything.

    Jean-Pierre Melville uses Delon in a way most directors would be afraid to attempt. Before, Delon's charm was his selling point, but in Le Samouraï, his allure is snatched from him. Melville takes away any ounce of precious dialogue in favor of a more nuanced approach, forcing Delon to embody a particularly cryptic character mostly through body language. In the past, actors in gangster films have been able to mangle the script and somehow spike their delivery to sound more menacing than usual. But Delon has to do something even harder, having to exude invincibility all the while keeping an icy exterior. People turn towards scenery-chewing performances when thinking about characterizations that "moved" them; in contrast Delon has done something masterful with subtlety, undoubtedly more impressive than the booming Shakespearian actors that began to creep out during the 1960s.

    We see Costello go through his daily rituals, putting on his trench coat and fedora with strange precision, keying a car to get some extra loot, later pulling a job at a nightclub. Throughout the film, he doesn't show the slightest smidgen of a feeling. Is he numb? In denial? Truthfully, it doesn't matter. Though the storyline sees his normally smooth routine being interrupted by an investigation, he doesn't seem worried about the government closing in on his every move. He is so far into a life of crime that dying for his cause doesn't seem all that bad.

    This is probably why the film is called Le Samouraï, as the samurais in all those Asian epics were more than willing to lose their lives in order to appease their reputations and their peers. Unlike Melville's earlier projects, Le Samouraï doesn't have the same blatant criminal romanticism. It's slick and crystalline, yes, but every frame carries enough tension to suggest that Dolph Lundgren might come out of the shadows and Machine Gun Kelly everyone to death. A tragic ending is a given. Silence is cherished in the film; along with Delon's moodless characterization, the facsimile of scenic solitude is furthered. The greyed-out style, Melville's intricate direction, and, of course, Delon's performance, work together with astonishing virtuosity.

    The only complaint I ever find myself having with Melville films is how untouchable they are. They feel miles apart from us, detached, so stylish that we grow to be more appreciative than adoring. But there is no denying how great a filmmaker Melville is. "He's the greatest director I've had the good fortune, pleasure, and honor to work with up to this point," Delon dryly gushes later on in the Monsieur Cinéma interview. It sounds dramatic, but sometimes, melodrama can be true. Melville is not just a guy with a dream; he's a visionary, a poet of style.

    Read more reviews at petersonreviews.com
    7darleneva621

    Delon will live forever

    This movie is so revered but I had to watch it a couple of times before I saw the overall appeal. I enjoy films with little dialogue to establish intention and direction of the plot, and this describes Le Samourai. But the plot was convoluted at times, then it would be clear, then I'd get confused again. I felt on the edge of my seat (especially in the subway scenes) as I really didn't know which way this would go. There's so much that Delon's character, Jef, does that I don't understand but I really wanted to understand. I still don't, not really.

    This is Delon's film, period. I believe the director, Melville, knew what he wanted and knew Delon could do it. He owns this part. So handsome but almost like a sculpture. There were small moments of vulnerability, enough to wonder how you feel about him.

    The filming and the muted colors and the pacing, I can see why filmmakers worship this film. It's definitely not for everyone. You can read the synopsis so you have an idea of the plot, but trust me, it will fool you.

    As I write this, Delon has recently turned 87. I saw a comment that said he hasn't aged well. At 87 years old, exactly how would one expect him to look? He's had health problems, needs a cane, but his kids occasional post pics of him on social media. He's aged naturally and I respect that.

    Jef Costello is clearly the part that will always come to mind when discussing Alain's career. Sadly a lot of these films are not as interesting to the new generation.

    Alain Delon's Top 10 Films, Ranked

    Alain Delon's Top 10 Films, Ranked

    To celebrate the life and career of Alain Delon, the actor often credited with starring in some of the greatest European films of the 1960s and '70s, we rounded up his top 10 movies, ranked by IMDb fan ratings.
    See the list
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    Polizistendrama
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    Psychologisches Drama
    Robert De Niro and Val Kilmer in Heat (1995)
    Raub
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drama
    James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie-Lynn Sigler, Tony Sirico, and Michael Drayer in Die Sopranos (1999)
    Kriminalität
    Cho Yeo-jeong in Parasite (2019)
    Thriller

    Handlung

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    • Wissenswertes
      When Jean-Pierre Melville brought a copy of the script to Alain Delon, Delon asked him what the title was. When he was told the title was "Le samouraï", Delon had Melville follow him to his bedroom, where there was only a leather couch and a samurai blade hanging on the wall. Melville had written the screenplay with Delon expressly in mind for the lead.
    • Patzer
      The streets change from bone dry to soaking wet and raining when Jef flees from the female undercover cop in the Paris Metro.
    • Zitate

      [hitman enters the room of the bar owner]

      Martey, Nightclub Owner: Who are you?

      Jeff Costello: Doesn't matter.

      Martey, Nightclub Owner: What do you want?

      Jeff Costello: To kill you.

      [shoots him]

    • Crazy Credits
      The movie's Opening Credits include an epigraph: " "There is no solitude greater than a samurai's, unless perhaps it is that of a tiger in the jungle." - The Book of Bushido."
    • Alternative Versionen
      The West German theatrical version was cut by approximately eight minutes.
    • Verbindungen
      Featured in Zomergasten: Folge #10.3 (1997)
    • Soundtracks
      Le Samouraï
      Written and Performed by François de Roubaix Et Orchestre

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    FAQ18

    • How long is Le Samouraï?Powered by Alexa
    • When Jef returns to his flat and is about to use the telephone, he sees his pet bird chirruping in its cage and senses something is wrong. So he puts down the phone, searches his flat, and finds a hidden bug. What has the bird done to rouse Jef's suspicions?

    Details

    Ändern
    • Erscheinungsdatum
      • 13. Juni 1968 (Westdeutschland)
    • Herkunftsländer
      • Frankreich
      • Italien
    • Sprache
      • Französisch
    • Auch bekannt als
      • El samurai
    • Drehorte
      • Avenue des Champs-Élysées, Paris 8, Paris, Frankreich
    • Produktionsfirmen
      • Compagnie Industrielle et Commerciale Cinématographique (CICC)
      • Fida Cinematografica
      • Filmel
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Bruttoertrag in den USA und Kanada
      • 216.696 $
    • Eröffnungswochenende in den USA und in Kanada
      • 14.899 $
      • 31. März 2024
    • Weltweiter Bruttoertrag
      • 343.363 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 1 Std. 45 Min.(105 min)
    • Seitenverhältnis
      • 1.85 : 1

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