Le Samouraï

An image means a lot to Jean-Pierre Melville. This case was proven when Alain Delon read the script for the lead role. Reading with Melville, Delon got only six pages in and agreed to the role. Melville snapped, "You haven't even read a line of dialogue!" Delon replied, "That's why I'll do it." It's an ancedote, but it is also telling. The image of Delon as the professional killer, lying awake in a bare bedroom, lingers through out the film. It invites us to wonder about a killer who goes about a rough job as if it was routine and commonplace. Delon personifies the look and actions. Melville just doesn't take the characterization far enough. In Army of Shadows he played with roles like Delon's, but he gave the characters and their unfortunate situation a greater context. Le Samourai is given a questionable plot that does little to add to the killer. Melville, a master of tone and frame, makes Le Samourai breathe too closely to lesser works of hollow style. A lot of the imagery is powerful and contemplative, but those images aren't rewarded. A smaller effort for Melville.