Léon: The Professional

Many movies have characters in them who are hired assassins, or "hit men". They're the standard "badass" character that kills people in order to collect a reward. Most hit men in films have been portrayed as cold, heartless villains (Boba Fett of Star Wars, Vincent of Collateral). Léon, however, flips this cliché on its end, as the hit-man is the kind-hearted protagonist who learns how to love, thanks to a little girl who shows up on his doorstep.

Léon begins in a restaurant, with the assassin himself (Jean Reno) taking a contract from his boss Tony (Danny Aiello) to kill a man who's moving in on Tony's territory. The next 10 minutes become an enthralling cat and mouse game where Leon shows the viewers just why he is known as the cleaner: he is extremely good at this job. We also see Leon's human side, shown by his passion for milk, his affection for his plant (whom he calls his best friend) and when he becomes engrossed watching Singin' in the Rain. Leon seems quite content with this life, not seeming to want anything more. That is, until he is forced to take custody of a twelve-year-old girl (Natalie Portman) whose entire family was cruelly massacred by a corrupt DEA agent (Gary Oldman). This is where Leon is forced to change his lifestyle for the little girl, and when she wishes to get into contract killing to avenge her brother, Leon becomes her mentor and protector.

Luc Besson was both the director and screenwriter for Léon, and he proves with his sophomore effort that he is no one-hit wonder. Léon is a very fast paced movie, chronicling Leon's training of Mathilda, Mathilda's growing affection for contract killing (and for Leon himself), and the final standoff with Norman Stansfield. Despite all this, Léon also has time to throw in some slower scenes that develop Leon's and Mathilda's characters, expanding on their growing relationship and partnership.

Jean Reno does a very good job as Leon, portraying him both as an effective and frightening killing machine, and as a loving and caring father figure. There is almost a childlike innocence to Leon, with him being unable to read and not familiar with most American culture. Reno allows the audience to both sympathize with this character and respect him, an extremely challenging feat.

Natalie Portman's breakout role as Mathilda is one of the greatest acted child roles in a film, period. Portman is able to portray childlike innocence combined with an above average intelligence and awareness of the world around her. Although she is young, she becomes extremely interested in Leon and his job, wanting revenge for the gross acts committed upon her. Make no mistake, Mathilda is the true star of this film, and Portman completely shines in the role.

In comparison to Jean Reno's fairly subdued performance as Leon, apparently Luc Besson wanted a more exciting and over-the-top antagonist for the film: enter Gary Oldman. Gary Oldman completely overacts his character of the crooked DEA cop, and he does it so wonderfully that he steals every scene he is in. This is without a doubt the greatest performance of this underrated actor's career, as the fun Oldman has with this role practically oozes out of the screen and infects anyone who watches him. While some critics criticized Oldman for his performance, it was actually spot on considering that the character of Stansfield is a drug-addicted psychotic cop who has no problem with murdering an innocent family to get what he desires. The only nitpick I have with Stansfield is his screen time is fairly small compared with Leon and Mathilda; nevertheless he completely steals the show when he does appear.

The plot of Léon is fairly straightforward compared to most action flicks, as there are no particular plot twists or double crossings. However, the simple plot works because this is not a plot driven movie, it is a character driven one. That's not to say there is no action in this movie, there are a few great action sequences (especially the spectacular police shootout in the film's climax), but the film mainly revolves around the growing affection between Leon and Mathilda, and how they change each others' lives. Overall, Léon is an extremely well-made action/drama, and one of the best films of 1994.

"...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.

A hitman is forced to look after twelve year old Matilda, who's family has been killed.

Leon was and will forever be a masterpiece, it is a thought provoking, dramatic and pretty violent thriller, one that will actually challenge you, making you question what's actually happening in front of your eyes.

Violent and bleak in parts, but not lacking some humour, the game of charades for example is a real hoot, and breaks the serious narrative up a little.

Best scene for me, the showdown in The Gent's toilet, where Matilda finally confronts Stan, the acting is off the scale.

The relationship between Leon and Matilda is complex, but one thing that I noticed, is that every aspect of it is driven by Matilda, not Leon, he just goes with the flow.

The acting is phenomenal, there are a trio of first class performances, Jean Reno and Gary Oldman as you'd expect are captivating, but credit to a young Natalie Portman who is on par, defying her young age and inexperience, no wonder.

This amazing film still packs a punch.

10/10.

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.

This movie is rated 63 on the imdb top 250 movie list, showing that people obviously like this movie, and with good reason. But why the hell didn;t this movie garner at least one single oscar or golden globe nomination??

natalie portman's performance was terrific as the emotionally ravaged matildha - best actress nomination for sure.

jean reno should have been nominated for a best actor nomination. the fact that the audience is led to feel sympathy and sorrow for a hitman speaks words enough about his performance.

gary oldman is fantastic as the corrupt and psychotic cop. his character is so repulsive and chilling, but at the same time so quirky and interesting to watch. best supporting actor nomination.

luc besson. when this man will get some kudos for his work i never know. the professional, in my opinion, is his greatest achievement as a director and, considering the fact he has helmed classic cult films such as nikita and the fifth element, the professional must rate highly as one of the best films of the 90's atleast! best film and best director nominations should have been given.

but no, it was all too easy to heap praise on the feel good movie forrest gump, and shun the movie that, through its intensity and tragedy, better highlights the value of life and love.