Let me start by getting these three things out of the way:
Jean-Pierre Melville (director) ... THE RED CIRCLE (1970), ARMY OF SHADOWS (1969), UN FLIC (1972), and a first feature film debut LE SILENCE DE LA MER (1949), followed by his second film, based on Jean Cocteau's 1929 novel, LES ENFANTS TERRIBLES (1950).
Alain Delon (actor) ... PLEIN SOLEIL (1960), ROCCO AND HIS BROTHERS (1960), L'ECLISSE (1962), IL GATTOPARDO (1962), THE SICILIAN CLAN (1969) -- wait! Let's just throw in his whole filmography, shall we? Have you seen this man in UN AMOUR DE SWANN (1984) alone?!
Henri Decaë (cinematographer) ... ASCENSEUR POUR L'ECHAFAUD (1958), THE 400 BLOWS (1959), SEVEN DEADLY SINS (1962) and yes, PLEIN SOLEIL (1960) and THE SICILIAN CLAN (1969).
And someone you'll know before this piece is out ... Cathy Rosier. Her chemistry with Delon, almost steals the film away. Almost.
Put the elements together and you get ... 2 words. 1 assassin. "I never lose. Not really."
Jean-Pierre Melville (director) ... THE RED CIRCLE (1970), ARMY OF SHADOWS (1969), UN FLIC (1972), and a first feature film debut LE SILENCE DE LA MER (1949), followed by his second film, based on Jean Cocteau's 1929 novel, LES ENFANTS TERRIBLES (1950).
Alain Delon (actor) ... PLEIN SOLEIL (1960), ROCCO AND HIS BROTHERS (1960), L'ECLISSE (1962), IL GATTOPARDO (1962), THE SICILIAN CLAN (1969) -- wait! Let's just throw in his whole filmography, shall we? Have you seen this man in UN AMOUR DE SWANN (1984) alone?!
Henri Decaë (cinematographer) ... ASCENSEUR POUR L'ECHAFAUD (1958), THE 400 BLOWS (1959), SEVEN DEADLY SINS (1962) and yes, PLEIN SOLEIL (1960) and THE SICILIAN CLAN (1969).
And someone you'll know before this piece is out ... Cathy Rosier. Her chemistry with Delon, almost steals the film away. Almost.
Put the elements together and you get ... 2 words. 1 assassin. "I never lose. Not really."
LE SAMOURAÏ (1967)
If I liked "lists" ... LE SAMOURAÏ would be on every one there was. And if there wasn't a reason ... I'd create one. Though, IMO, I'd probably leave it off all together because, LE SAMOURAÏ cannot be defined by just "a list." Films as this require no lists, no reasons, no explanations. Films like this, are, because ... They are.
When approached by Melville to do this film, Alain Delon agreed within ten-minutes:
This story has no dialogue so far — I will do it.
—Alain Delon to Jean-Pierre Melville
And after watching Delon's portrayal as Jef (yes, one "f"), it's hard, if not impossible, in my opinion, to imagine anyone else in the role. Cliché as it may seem.
I was introduced to LE SAMOURAÏ and Delon all around the same time. I "discovered" Delon after watching Patricia Highsmith's 1955 THE TALENTED MR. RIPLEY novel turned film PURPLE NOON/PLEIN SOLEIL (1960), initially taken by his frequent co-star Maurice Ronet ... That's a different CINEMA COFFEE entirely. Only to be totally captured by Delon before the film was over. Cause meet effect later, I struck upon my own Alain Delon filmography watch challenge, to watch all of his films he had done up to that point. Only realizing during this challenge I had "met" Monsieur Delon prior in BARSOLINO (1970) ... It's a long story. But this ... This was different.
So different did American films use, or rather not use, Delon's talents in films like TEXAS ACROSS THE RIVER (1966) ... I'm sorry, I'm sorry ... The more of the films you see him in, the more you see how he can go to something rather comedic in CHE GIOIA VIVERE (1961) from a film as deep and dramatic as ROCCO AND HIS BROTHERS (1960), which made me think while watching his filmography ... Why didn't American cinema or American audiences see that?!
And though Jean-Paul Belmondo told Robert Osborne during a 2010 TCMFF on his personal decision not to make the transition to American pictures like friend and frequent co-star Delon, even after being offered American roles and a contract from Sam Spiegel, turning them down, saying he was being offered mostly only Italian or Polish Mafioso roles and was having too much fun at home, I admit, I am happy we get the American films we do get with Delon. From JOY HOUSE (1964), ONCE A THEIF (1965) amongst others, even LOST COMMAND (1966) (which, I remember forcing my Mom to watch because it had both Delon *and* Maurice Ronet in the film speaking English. Haha!)
And though Jean-Paul Belmondo told Robert Osborne during a 2010 TCMFF on his personal decision not to make the transition to American pictures like friend and frequent co-star Delon, even after being offered American roles and a contract from Sam Spiegel, turning them down, saying he was being offered mostly only Italian or Polish Mafioso roles and was having too much fun at home, I admit, I am happy we get the American films we do get with Delon. From JOY HOUSE (1964), ONCE A THEIF (1965) amongst others, even LOST COMMAND (1966) (which, I remember forcing my Mom to watch because it had both Delon *and* Maurice Ronet in the film speaking English. Haha!)
Without giving any spoilers away for those who may not have seen LE SAMOURAÏ, I'm hoping this will be your introduction, your inducement to watch the film. My first watch, I went into this film cold. The way I'd actually recommend first timers to go in. And I don't think I'd be giving anything away when I talk about the first frame, the first shot. That first opening shot, sets the tone of the film, telling you everything you need to know.
The tone of the film will follow both this style and story. Something, style wise, look wise, Melville deliberately wanted.
The tone of the film will follow both this style and story. Something, style wise, look wise, Melville deliberately wanted.
Enter cinematographer Henri Decaë. As Melville and Decaë experimented with Eastman Color stock, "to diffuse and was out the tonal range of primary colors." (source: Brutal Intimacy by Tim Palmer). For me, Henri Decaë does with Melville's LE SAMOURAÏ, ARMY OF SHADOWS, LE CERCLE ROUGE what the "Prince of Darkness" Gordon Willis does with Francis Ford Coppola's THE GODFATHER Trilogy.
On first notice, that first shot ... the solidarity. What that solidarity is, I won't give away, because it's a moment that should be enjoyed. Discovered by your eyes, first hand, alone. And if you are like I, your eye hits it before it can grab you. And once you spot it, you'll never get that moment back again. It's yours to have. Once you see it, you will know. Let me know what you think when you do.
On first notice, that first shot ... the solidarity. What that solidarity is, I won't give away, because it's a moment that should be enjoyed. Discovered by your eyes, first hand, alone. And if you are like I, your eye hits it before it can grab you. And once you spot it, you'll never get that moment back again. It's yours to have. Once you see it, you will know. Let me know what you think when you do.
“There is no greater solitude than that of a samurai, unless it is that of the tiger in the jungle . . . perhaps . . .”
Aside from the cinematography upon opening, we are also met with this (above) quote. A quote cited as Bushido (Book of Samurai) ... Is in fact, from Jean-Pierre Melville himself. As Melville admits in an interview, which appeared in Rui Nogueria's 'Melville on Melville' ... "Do you know that the film was shown in Japan complete with that opening title, which I attribute to The Book Of Bushido? What they don't know is that I wrote the "quotation.""
And with the style, the story, the Samouraï set ... We get Cathy Rosier.
gifs by: MADE IN THE SIXTIES
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Born in Martinique, French West Indies, model Cathy Rosier (you can see Rosier modelling Paco Rabanne in 1969) appears as the pianist here, in her first film role. A role that will never leave you after the film has finished.
Though Delon's real-life wife at the time Nathalie (the two would separate during filming, filing in 1967 and divorcing in 1969, a moment Melville said he'd see "every time I look at that scene now, I get the impression that they're saying good-bye for real ... In fact, it was that same evening that they finally separated.") is in the film as Delon's ... love interest? Yes, but, I have to agree on the relationship between them on-screen seems more brother and sister than anything else, which Melville states is what drew him to cast Nathalie in the role as opposed to the pianist, which went to Cathy Rosier. |
When the pianist is introduced to the storyline, you know she is shown for a reason. You know her character isn't merely a walk-on role. She has a purpose. She has a place in the story. And if you're wondering if there is something behind the way Jef looks at her, according to Melville ... You would be correct. In his own way, Jef falls in love with her. The result of that, the full context behind that, I'll let you decide for yourself, or encourage you to read further in 'Melville on Melville'.
LE SAMOURAÏ would go on to be what Rosier, who also cut a record Cathy Banana, in 1976, is best known for, in spite of having appeared in a number of other films. Including with Maurice Ronet, in a film entered in the 1970 Cannes Film Festival, however, was never re-released in any form and now considered to be lost, LE DERNIER SAUT (LAST LEAP (1970). I often wish she had done more films, were more well known, and have had another opportunity to act alongside Alain Delon. They'd have made a good on-screen team, IMO.
Much as I believe would have been the same for the incomplete LA FABULEUSE AVENTURE DE MARCO POLO (MARCO POLO (1962)) that was to co-star Delon with ... Dorothy Dandridge, reshot as MARCO THE MAGNIFICENT (1965) starring Horst Buchholz as "Marco Polo," Anthony Quinn, Orson Welles, and Omar Sharif.
Much as I believe would have been the same for the incomplete LA FABULEUSE AVENTURE DE MARCO POLO (MARCO POLO (1962)) that was to co-star Delon with ... Dorothy Dandridge, reshot as MARCO THE MAGNIFICENT (1965) starring Horst Buchholz as "Marco Polo," Anthony Quinn, Orson Welles, and Omar Sharif.
Dorothy Dandridge with Alain Delon for the never completed (with this cast anyway), LA FABULEUSE AVENTURE DE MARCO POLO
And if you ever follow up LE SAMOURAÏ with THE SICILIAN CLAN ... Yes, the poster behind Delon is Cath Rosier.
And if you ever follow up ELEVATOR TO THE GALLOWS with LE SAMOURAÏ ... Yes, that is Maurice Ronet.
Personally introduced LE SAMOURAÏ to a group of friends who wanted to make watching Classic Cinema I'd recommend to watch as a regular movie night so many times out of the months.
We did GILDA, GUYS AND DOLLS, ARSENIC AND OLD LACE, LE SAMOURAÏ -- too soon? I think not. They were captivated. To take a group of normally non-classic film watchers and throw in a classic International film ... Risky, but worth it.
We did GILDA, GUYS AND DOLLS, ARSENIC AND OLD LACE, LE SAMOURAÏ -- too soon? I think not. They were captivated. To take a group of normally non-classic film watchers and throw in a classic International film ... Risky, but worth it.
After introducing my friends to LE SAMOURAÏ that night, I immediately followed it up with just a scene from THE YELLOW ROLLS ROYCE (1964) with Delon and they all froze. Confused, they asked me was this really the same silent assassin we just watched ... Yep. That's him. While it does show Delon's versatility, it does also show how differently Hollywood used Delon in films vs. International films. Then, it could be the difference in American filmmaking, particularly of that time vs everyone else.
Melville's LE SAMOURAÏ, retitled as THE GODSON for its US release after the release of THE GODFATHER (1972), registers through you. From the music, scored by François de Roubaix, to the silence, though not in a complete THE THIEF (1952) with Ray Milland sort of a way, not only builds up the intensity, it carries you through the film.
LE SAMOURAÏ is a part of that film class that changes your whole perspective of how you view cinema. It's a film memory. It's before and after. It's a defining moment you will always remember as the day you ... Captain Jack Sparrow. (Sorry, not sorry. Had to.)
In short. If you've never seen LE SAMOURAÏ, make it official 10:15PM CT on TURNER CLASSIC MOVIES, August 31st, 2020 ... And as the song says ...
"You're a beautiful killer ... But you'll never be Alain Delon." —Beautiful Killer by Madonna
LE SAMOURAÏ is a part of that film class that changes your whole perspective of how you view cinema. It's a film memory. It's before and after. It's a defining moment you will always remember as the day you ... Captain Jack Sparrow. (Sorry, not sorry. Had to.)
In short. If you've never seen LE SAMOURAÏ, make it official 10:15PM CT on TURNER CLASSIC MOVIES, August 31st, 2020 ... And as the song says ...
"You're a beautiful killer ... But you'll never be Alain Delon." —Beautiful Killer by Madonna
For my *quick* Delon coffee talk, visit my CINEMA COFFEE chat on Alain Delon + a Fashion Friday espresso shot in spirit of LE SAMOURAÏ (1967) at the Coffee House (my YouTube Channel) in a "Tea Time for a Coffee Break" 💋.
For my other CINEMA COFFEE blog pieces:
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"