Pajiba Blockbusters
Léon / TK
Léon is the perfect example of why I love movies so much. Movies do all of those things that we always talk about — they make you laugh, cry, shout, scream, cover your eyes, and make you think. In my opinion, any movie that can achieve any of those reactions is worthwhile. Mrs. TK often says that one of my strangest features is that despite being something of a movie snob, it’s rare that I don’t enjoy a movie. Partially that’s because I probably avoid the real cinematic slag that we are so cursed by, but partially it’s also because of what I just mentioned — if a movie can gets a visceral, physical reaction (other than just try to gross you out — I’m looking at you, Eli Roth) out of me, I consider it to be at least somewhat successful.
Léon is one of those movies that can probably achieve all of those things for many of us. But that’s not actually why it has such a special place for me. It’s special to me because it was, I believe, the first movie that actually made me think about movies; that is to say it made me realize that there is even more to what we see on the screen than those reflexive reactions. It is one of the movies that led me down a long, convoluted path that brought me to a place such as this.
Originally known as The Professional in the United States, Léon is about an orphaned daughter of a drug dealer (Natalie Portman), who is taken in by an introverted hitman (Jean Reno) that lives in her building. While they try to figure out what to do with each other — he is an apprehensive loner who keeps no social contacts with anyone other than the local mob boss (Danny Aiello) who pays his contracts, and she is a garrulous, precocious pre-teen with a fixation on revenge and a need for a father-figure. All the while, the deranged, crooked and drug-addicted police detective who is responsible for murdering her family (a gleefully berserk Gary Oldman) is trying to track her down, while with the help of her newfound hired gun/father figure, she is trying to find him as well.
If all of this sounds rather over-the-top, well, it should. While Léon manages to merge both intense drama and kinetic action movie with stirring success, director Luc Besson is also responsible for more frenzied, seizure-inducing fare such as The Fifth Element and The Messenger: The Story of Joan of Arc. Over-the-top is pretty much Besson’s bailiwick. Léon, however, is one of Besson’s best works, on par with his other beautiful assassin drama, Nikita, a.k.a. La Femme Nikita (interesting bit of trivia — the main character was inspired by “The Cleaner” in Nikita, also played by Jean Reno). What sets it and Nikita apart from some of his more hyperactive productions is the successful development of the characters; as much as I love Nikita, the characterizations here are far more engrossing. When coupled with some ingenious action sequences and a lot of tight, close-up camera work, Léon succeeds in giving you an action movie with characters whose actions and relationships are not only believable, but that you find yourself invested in.
The relationships in the movie are really its backbone, and to fully appreciate it we must begin with the relationship between the assassin, or “Cleaner,” Léon (Reno) and his inadvertent ward Matilda (Portman). Portman, in her very first big-screen role, is nothing short of marvelous. She starts out the film as simply the sullen teenager, angry at her lot in life, her abusive father and her harpy of a stepmother. She spends her days sitting in the halls of their dilapidated apartment building, glumly smoking cigarettes and waiting for life to happen. Over time, she begins to have idle conversations with Léon, who lives at the end of the same hallway. Of course, we quickly learn that Matilda’s father is not only a criminal, but a rather stupid one, for he has swindled the cop who provides him with dope — Norman Stansfield (Oldman). One day while Matilda is out buying groceries, Stansfield and his goon squad show up and in a brutal sequence of events, exterminates her entire family as his punishment. Matilda arrives late to the scene, and in one of the most heartbreaking scenes, walks past her ruined family home to Léon ‘s door, pleading urgently until she persuades her stoic neighbor to let her in and save her life.
Léon, on the other hand, has been alone his entire life and doesn’t really know how to handle his new roommate. Léon is a complete misfit, unprepared for interaction with another person, a ghost who wanders through society unnoticed — deliberately so. From his ill-fitting clothes, to his lack of understanding of popular culture (evidenced in a bizarre yet fun scene where Matilda tries to ease the tension between them by playing dress-up), to the discovery that he can neither read nor write, Léon is barely a part of humanity. In fact, this is what separates him from many other modern hitman characters — he is not suave, he hasn’t been with a woman in almost 20 years, he doesn’t have any of the smoothness or coolness of the James Bonds of the world. His life consists of watering his plant (“It’s my best friend. Always happy. No questions.”), drinking milk, exercising … and killing people. Upon taking her in, they begin a strange, tentative bonding process which fulfils the others needs. Léon learns how to become more of a real person — he learns to read, he learns to protect instead of kill (though sometimes latter leads to the former), he begins to understand that there is more to life than his gloomy, hermitic existence. At the same time, Matilda gains the father figure she’s desperately wanted for so long — and someone who eventually agrees to help her get revenge for the death of her family. Léon, after much cajoling, begins to teach Matilda what can only be described as “Assassin Theory 101” — the basic rules and techniques of being a cleaner. “No women, no kids,” he solemnly proclaims is the first rule, which is partially what sets the events in motion.
However, somewhere along the line, things change between Matilda and Léon. Matilda stops seeing him as a father figure, and begins to fall in love with him. It’s worth mentioning to those who have seen this before that I’m basing my review on the “International Edition,” which is not the same as the version that was released in U.S. theaters. The theme of her growing love/obsession with Léon is pursued much more deeply in this version, and is in many ways much more disturbing. Even in the original, edited version, the relationship was vaguely uncomfortable. However, in Besson’s original vision, Matilda has more than a crush on Léon — she wants him as a lover, despite being a mere 12 or 13 years old. It’s these scenes that also display just how damaged Matilda is — at one point, she begs him to love her back, and then with tears streaming down her face, points a loaded gun at her head, vowing to kill herself if he doesn’t. It’s a shocking scene, and you can easily see why American censors decided to cut it. But just the same, it’s a vitally important one for it shows us the full impact that Matilda’s life has had on her psyche, as well as the effect of having Léon in her life. He has given her something to care about, and she cannot stand the idea that he might not care for her — that kind of letdown she wouldn’t be able to survive.
What makes this film so remarkable is that all of it — the lonely but deadly assassin, the coquettish yet vulnerable young girl, their dysfunctional but crucial dependence on each other — are completely and utterly believable. I don’t think I’m stretching things when I say that these might be the two of the best performances you’re likely to see either actor give. Reno is at his sad-eyed best, with a soft, gentle cadence that complements his thickly accented voice so well. His character is equal parts sad clown, introverted misfit, and controlled violence. He’s capable of doling out death without a second thought, yet doesn’t understand many basic human interactions. But what makes his portrayal even more impressive is watching the change in his understated performance when he learns to love Matilda — no, his love for her never manifests itself the way she wants it to, but you can tell by the way he looks at the world around him differently — his life is changing profoundly, in ways he doesn’t understand. It terrifies him, to transfer what little emotion he has from a plant to a living, breathing person, and yet by the end he is willing to give anything and everything he has for this fragile new part of his already delicately-balanced existence.
Portman, on the other hand, illuminates the drab surroundings that are the film’s backdrop. Her Matilda is unlike any female character you are likely to see of any age. She manages to be a convoluted morass of emotion over the course of the film — belligerent, desperate for affection and attention, innocent and world weary at the same time. She shares many similarities with Léon — neither has ever been part of a normal life, and thus the emotions they feel are unlike the emotions that your average citizen feels. When thrown together, the room is filled to bursting with their conflicting energies — Léon’s quiet intensity, Matilda’s childlike mania. She serves as the perfect counter-balance to his subdued performance, yet without making it unbelievable. In fact, the quiet moments between them are some of the most stirring. When she discovers what Léon does for a living, there is no histrionic scene. Instead, it is a quiet acceptance on her part, followed by a brutally honest question and answer session. And when Léon explains to Matilda just what she means to him … well, amidst the fire and fury of that scene, it is a moment of joy, exhilaration and terrifying emotion.
Of course, those who have seen the movie are probably baffled about a certain omission. And that’s because I decided to save my favorite part for last: Gary Oldman. Good Lord knows I’ve seen Oldman play a number of unusual, over-the-top roles over his prolific and peculiar career. This is easily my favorite. Despite being the main villain in the film, he has little screen time — if I had to guess he’s probably on screen for no more than 45 of the film’s 133 minutes. But he takes those 45 minutes and skins them, guts them, and rolls around in them with a maniacal glee. He plays Detective Norman Stansfield with an unhinged delight that you simply have to see to fully appreciate. A crooked cop is one thing. A convulsive, pill-popping, classical music devotee with a penchant for deathly quiet menace and murderous temper tantrums is something else entirely. Oldman chews scenery with such a glorious fury that one almost expects him to leave a blood trail when his scenes are over. And yet, once again, it somehow works within the framework of the movie. At one point, after an afternoon spent stalking him, Matilda is finally confronted by him in a scene where he radiates such pent-up twisted passion that you’re sure the scene will end nightmarishly. When he bites down on one of his pills, sending him into a shuddering, eye-twitching state of near-orgasm, I guarantee you will either lean forward in fascination, or shift backwards in nervous anticipation. He asks her, “Do you like life, sweetheart?” When a trembling, crying Matilda stammers a fearful “yes,” he completely invades her space and, while still in the throes of his drug-induced fervor, softly tells her, “That’s good, because I take no pleasure in taking life if it’s from a person who doesn’t care about it.” It’s one of the most memorable scenes in the movie, and perhaps perfectly captures both of them at their best.
Léon succeeds in doing all of the things I mentioned at the beginning of this. It takes you into its world completely, and makes you think more and more about the actions of its characters, the places they go, the things they say. It makes you believe that its world, no matter how wild or bleak or terrifying it may be, is fully realized and altogether genuine. While the performances range from manic to gentle, demented to demure, it is wholly absorbing. When I first saw it in 1994, I remember walking out of the theater and thinking to myself, “this is what it should always be like. This is what we should be looking for.” The violence may startle you, the love story may make you squirm, the grimness of it may sadden you, but you will enjoy every moment of it, and you will definitely remember it.
TK can be found wandering aimlessly through suburban Massachusetts, wondering how the hell he got there while yelling at the kids on his lawn. You can find him wasting his time at Uncooked Meat.
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Comments
i absolutely love this movie and had forgotten all about it! thanks for reminding me! i can remember being blown away by the time it ended, and literally having to sit in my living room and catch my breath. great review.
Posted by: stefanie at April 3, 2008 11:38 AM
TK - that was an excellent review of one of my absolute favorite movies.
" I don't think I'm stretching things when I say that these might be the two of the best performances you're likely to see either actor give"
I wholehertedly agree, and although this may rattle the feathers of some Oldman fans, I think this is his best performance. He was genuinely frightening in this role... I've got a friend who whenever we're getting people together for something do the "Everyone? - EEVEEERYOOONE" thing, much to the befuddlement of innocent bystanders and children.
Posted by: Skittimus Maximus at April 3, 2008 11:47 AM
"wholehertedly"?
That's great, just top-notch...
Posted by: Skittimus Maximus at April 3, 2008 11:50 AM
Great review. Great movie.
Posted by: twig at April 3, 2008 11:50 AM
Wow, TK, that was a fantastic review. Jean Reno is one of my favorite actors because of this film, his portrayal of someone so menacing yet so sweet and dignified had me floored when I first saw this.
I love the scene where he's making the pig oven mitt talk, it's so ridiculous and awkward I can barely watch.
Nicholas Angel's obsession with his peace lily was one of my favorite aspects of Hot Fuzz, I loved that little throwback to Leon :)
Posted by: Julie at April 3, 2008 11:52 AM
2 for 2 tk. nice work
Posted by: dg at April 3, 2008 11:52 AM
Oh, man. I loved this movie. All of them good, but Gary Oldman, romping through the film as if he'd never heard of restraint, was the winner. Best line: "Bingo!"
Posted by: karstark at April 3, 2008 11:57 AM
Either version of this film are very high on my list of 'movies I'm likely to name as my 'favorite of all time' when asked unexpectedly'.
Though to be honest I'd like something in the middle between the two editions. The creepy vibe of the 'dinner date', among other scenes gets to be a bit much for casual viewing, and the Professional lacks too many important scenes to ever feel complete... especially knowing what is missing now.
I had never heard of Gary Oldman prior to this movie, and after his presence is enough to make me go see a film I might otherwise miss.
Posted by: Spike at April 3, 2008 11:57 AM
"wholehertedly"?
That's great, just top-notch...
Posted by: Skittimus Maximus at April 3, 2008 11:50 AM
Hee. I hert you, Skits.
Speaking of things I hert, this review was excellent, TK (and bonus points for the Pat Benatar reference). I haven't actually watched this since it was first released, and I was either 14 or 15 at the time. It's been lingering in my queue for about two years, but it keeps getting bumped way down. You've inspired me to move it back up. Now it's right under The West Wing and The Wire which, incidentally, are also on there because of you. When I become a hermit shut-in, I'm blaming you.
Posted by: Sarina at April 3, 2008 12:06 PM
This was the film that helped me convert Mr. PaddyDog to French cinema and for that alone I owe it a huge debt. I have always felt that this was the role Gary Oldman was rehearsing for all of his life (although I will never love him more than I did in Sid and Nancy).
Posted by: PaddyDog at April 3, 2008 12:08 PM
When this film first came out, my dad and I were trying to improve our relationship by going out once a week on a sort of father-daughter date night, usually dinner and a movie.
This was the first movie we saw together. Father/daughter night quickly became just dinner after that.
This said, excellent movie, excellent review.
Posted by: Gabrielle at April 3, 2008 12:15 PM
Excellent review, TK. It's probably been less than a year since I've last seen this, but now I desperately want to see it again. Thanks!
Posted by: jamiepants at April 3, 2008 12:18 PM
This is one of my fav's. Thanks for the great review.
Posted by: Shrennie at April 3, 2008 12:20 PM
I think this is certainly your finest review yet TK, and it really shows your love for the movie.
As for myself: I have owned more than three copies of this film - each one has been "borrowed" by someone who hasn't seen the film (with the exception of the first copy which was spirited away by the ex Mr. TheOdd damn him) the result of my "loan" was always the same: a friend who now loved the movie too much to give it back (my friends frequently take liberties, it's why I love them). I can never begrudge anyone stealing it though, it's just so damned good. And if any time I lose a copy it means that someone else falls in love with it then so be it.
Posted by: Alex the Odd at April 3, 2008 12:25 PM
This movie is always on television, so I watch it about once every two weeks. It never gets old. Great review.
Posted by: jM at April 3, 2008 12:27 PM
Truly an amazing film and Besson's finest.
How often do you empathise with a 12-year -old girl and a hitman at the same time?
Also, Oldman's greatest over-the-top performance (run a close second by his arms dealer in Fifth Element).
Posted by: frank_247 at April 3, 2008 12:28 PM
I am so glad I discovered this on cable one day. Natalie Portman, naked or dressed, will never be better than she was in this film. Jean Reno was nothing short of brilliant. The roar he emits after sending Matilda down the ventilation chute and before taking on the full might of the NYPD strike force is absolutely terrifying. And Gary Oldman? Full-on nutbag. Fabulous. "Do you like Mozart? No, you're a Beethoven man....."
Posted by: dammitjanet at April 3, 2008 12:29 PM
Fantastic review, TK. I didn't see this until after I saw Beautiful Girls, and from those two films grew my love for Natalie Portman. (Shut it, haters. The Star Wars fiasco does not exist in my realm, and Evey Hammond kicks ASS!)
Posted by: Nicole at April 3, 2008 12:36 PM
Nicole, I love Natalie Portman as well. My love remains pure probably because I avoided all three of the new Star Wars.
She almost lost me with Garden State though. I wanted viciously murder that movie.
Posted by: Julie at April 3, 2008 12:39 PM
yay!!!!! i don't have time to read it all right now and will when i return...but Gary Oldman---Norman Stansfield---fuck yay!!!!! one of my most fave Oldman characters! can't wait to read it all.
Posted by: maxpurr9 at April 3, 2008 12:44 PM
This was my favorite movie for a good two years. I used to think the classical music bust was the most poetic thing ever put onscreen. It's still great though. Reno, Oldman, and Portman all turn out great stuff.
Posted by: Kevin Longrie at April 3, 2008 12:47 PM
Beautiful review, TK. You keep proving that you are a man of taste and refinement, given to much introspection, lounging in a sweater vest, intently watching a great review while your zombie servants serve you and Mrs. TK drinks...
I fell in love with this movie, completely, totally, without abandon. It's because of this movie that Gary Oldman became my all-time favorite villain of all time...and Jean Reno's assassin is the hitman who cannot be beat. Ever. EVER. That was such a chump shot, Gary...the only way you'd ever beat him...
I digress. Lurve movie. Lurve Oldman. I actually wouldn't mind seeing a sequel made to this now, with Natalie Portman (not just her character, her) coming back as an older, wiser Matilda who has learned the trade and Jean Reno is her conscience who speaks with her throughout the film, as they travel the country killing innocent politicians in the park with paintball guns...
Posted by: Shadows of Dakaron at April 3, 2008 12:48 PM
I have this permanently on my Tivo as it came on HBO a few weeks ago and Natalie Portman fan/husband has never seen it. I am going to make him watch it one of these days. It has been years since I saw this movie and I have never forgotten it.
Easily the best performance of Portman's career.
Posted by: Melody at April 3, 2008 12:48 PM
Great review. I'll have to bump it up on my Netflix queue.
Posted by: Elfrieda at April 3, 2008 12:54 PM
Amazing movie, and I can't think of an ending that's both so sad and satisfying at the same time.
Posted by: aidan at April 3, 2008 1:06 PM
Spectacular review, TK. This is easily one of my favorite films. I'm a huge Besson fan and I'll see anything Reno is in (although I've often regretted it...see: DaVinci Code).
One of my favorite scenes in this film is when Matilda, after discovering her entire family has been murdered and the culprits are still inside her house, stands outside of Leon's apartment, praying that he will open the door and let her in so Norman and his cronies do not murder her as well. I don't think Portman has conveyed such believable and heart-wrenching emotion since Leon...but it is the one reason I won't give up on her completely and denounce her as "another pretty face". I have to say that at certain moments, her performance as Evey Hammond approached the scene in Leon in terms of believability and effectiveness, but Matilda is, and probably always will be, her best performance.
Posted by: Lux at April 3, 2008 1:09 PM
Wonderful review, TK. I still have trouble getting my head around such a beautiful performance coming out of someone so young. Amazing.
Posted by: Gumble at April 3, 2008 1:11 PM
This is seriously my favorite movie of all time. I am so glad to see it finally get a review on this site, especially one as great as this. Kudos, major Kudos.
Posted by: Andy at April 3, 2008 1:21 PM
One of my very favorites - this was an excellent review TK! Each actor played a perfect pitch game - even the elements that were over the top or seemed disjointed at first just paid off in full over the course of the film.
This movie is also why I love Natalie - that was the bravest performance of pre-teen sexuality without exploiting herself I've ever seen. Mena Suvari and all the other 'lolita' roles pale in comparison. I honestly believe most filmmakers are scared shitless of dealing with the character of an empowered and experiment-minded young woman - they are both lethal and yet also fragile - It's too much for a grown man (or woman) to handle, never mind do it well without defaulting to titillation. Too much adult baggage over that stuff. I'm also impressed her parents let her do it - but I understand that they trusted her and it looks like it panned out for her/them. Never seen Natalie Portman stage dive, you know?
Jean Reno and Gary Oldman - I haven't words enough but to say, if you haven't seen this, please do.
Also I like Luc Besson. You may think I'm on crack, but he kinda reminds me of a las vegas/wal mart version of Terry Gilliam - you know, with his own vision, style and set of themes, a little plasticky and intended for entertainment purposes only...anyone?
not so eloquent today, but I loves it, this one.
Posted by: replica at April 3, 2008 1:25 PM
This was simply amazing. Both the movie and the review. Thank you TK for such a beautiful reminder of why I admire your writing and this movie.
I get shivers just remembering the scene where Leon says good bye to Matlida. So heart breaking because you just know.
Posted by: Wormer at April 3, 2008 1:42 PM
Whilst Oldman's performance is unquestionably spine-tingling, I do feel his unchecked killing spree detracts from the story somewhat.
My problem is that as soon as Internal Affairs had seen the carnage at Matilda's flat, Stansfield would have been immediately suspended pending investigation.
Instead, they see the unarmed woman shot in the bath, the guy shot 6 times in the back, not to mention the dead toddler and wave him merrily on his way.
Clearly the story needs him to be on the loose, so I would have preferred the murder of the family to be devious and understated, thus allowing him to remain at large.
Aside from that, I love this movie.
Posted by: Simon B at April 3, 2008 1:43 PM
Damn, son. Excellent review, TK. One of my favoritest movies of all time. And this version, because it really does turn up the preteen sexuality factor a sick notch.
replica, you are not crazy. Luc Besson is on my list of Mad Hatters. It's not just in his directing style either, but his writing. Dude's working on a different planet. Sure the air's a bit different, and stuff gets lost in translation, but it's still outstanding.
Posted by: insertclevernamehere at April 3, 2008 1:49 PM
Also I like Luc Besson.
Just watched Angel-A last night, which was uneven but entertaining, so I must agree.
Posted by: twig at April 3, 2008 1:59 PM
I've seen both versions, and (though I may be in the minority) I find the romantic angle in the international version ultimately less creepy than in the American version. Why? Because by dealing with the issue more head on, the international version defuses the issue. However, I find the American version, by leaving so much on the cutting room floor, leaves more things unspoken...and all those unspoken things start making me feel more uncomfortable.
Posted by: trooper6 at April 3, 2008 2:10 PM
I really enjoyed reading this review, and I think it answered the question of why I enjoyed Sophie on In Treatment so much - besides the great performance, I see echoes of Matilda in the character.
Posted by: Three-nineteen at April 3, 2008 2:22 PM
Pajiba: Writing love letters to movies I love so I don't have to.
Great review of a fantastic film, TK.
Posted by: TL at April 3, 2008 2:22 PM
I echo what everyone else said--great movie, and great review.
Everyone did a fantastic job, but Oldman . . . man. He's just mesmerizing in this.
Posted by: llism at April 3, 2008 2:25 PM
Besson is on my list of "mad hatter" directors too, along with Baz Luhrman and Terry Gilliam. I liked The Messenger cuz it was so ass crazy (and I love a Joan d' Arc story).
Posted by: Stella at April 3, 2008 2:44 PM
Also, my sister bore an uncanny resemblance to Natalie Portman in this movie, so much so that she dressed up as Matilda one Halloween (her boyfriend went as Leon - a look somewhat ruined by the fact he didn't break 5'6" except in cowboy boots). Still, the sight of her strolling down 6th St cradling that potted plant on her hip was a sight to see.
Posted by: Stella at April 3, 2008 2:51 PM
Mr. Pink still clings to this vision Natalie as the root of his love for her, even after some of the suspect roles she's take lately. Every once and a while, he has to watch The Professional, like pulling out a old love note she passed him in study hall.
Gary Oldman is awesomeness personified. He melts into his roles so effortlessly. Watch him in this movie and then Batman Begins; it's amazing how he can play super-duper psychopants and an utterly believable regular guy with the same amount of believability. Prick Up Your Ears is another of my favorite Oldman films, right after True Romance and his wicked Drexel.
Posted by: Alabamapink at April 3, 2008 2:57 PM
I agree that none of the actors in this film will ever be this good again. Not because they've all begun to suck as actors - yeah, Jean Reno needs to pick better scripts but he's still talented, Gary Oldman is my hero, and I've loved pretty much everything Natalie Portman's done in the past 7 or 8 years (that wasn't a SW film) - just because they'll never come across roles like these again, in a film like this. Ever.
Replica- Complete word to your whole post.
Posted by: Jon at April 3, 2008 3:00 PM
Gary Oldman is awesomeness personified. He melts into his roles so effortlessly. Watch him in this movie and then Batman Begins; it's amazing how he can play super-duper psychopants and an utterly believable regular guy with the same amount of believability.
That is so true, 'bama. He can be so touching and affecting in roles like Sirius Black and Lt. Gordon, can completely lose his mind in Leon, and even crack me up as a freaking guest star on Friends. I love him and his curious charisma.
Posted by: Julie at April 3, 2008 3:09 PM
Easily the best performance of Portman's career.
I agree as well, Melody. Portman was very good in Garden State as well, though the movie was flawed.
It must be so hard for these young people to go on working after such a perfect role as their first? Anna Paquin (sp?) in The Piano also comes to mind. I'm sure there are others...
Posted by: mswas at April 3, 2008 3:25 PM
I really love this movie. The first time I saw the international version, Leon, I was pretty weirded out. It doesn't bother me so much now. I'm always glad when I hear somebody mention this movie because I think it's a great example of how amazing Natalie Portman is at acting. I'm also always a sucker for Jean Reno. Ronin is another favorite of mine that he's in.
Posted by: Lebowski Podcast at April 3, 2008 3:27 PM
Love from Boo Corner, TK!!
I wish more directors had the cajones to even attempt portraying a non-sexual but full of sexual tension type relationship that exists here with Matilda and Leon. The idea that children do not have a sexual life is beyond maddening to me. It's one thing to make children sexual objects; it is another thing completely to address their budding sexuality in a realistic and open-minded way.
Natalie Portman is perfection in this movie. I would even go so far as to say Iconic.
Tatum O'Neil had nothing on this. She was acting with her real father, for Shiva-sakes!
Posted by: boo at April 3, 2008 3:49 PM
I am also a huge fan of Portman's character in Closer. She's the reason I've seen it five times. Alice/Jane? Awesome.
And yes, she is #1 on my top five, how did you guess?
NTS: See international version.
Posted by: Nicole at April 3, 2008 4:01 PM
And yes, she is #1 on my top five, how did you guess?
That just made you awesome in my book.
Lebowski Podcast...GAWD yes. Ronin was another fan-friggin-tastic Jean Reno role. This movie made him great in my eyes...that one made the title permanent. And yet, it's hard to find anybody who's seen that movie...which is a true shame.
Posted by: Shadows of Dakaron at April 3, 2008 4:19 PM
Shadows - I loved Ronin until I saw how they filmed the car chase scene - at about 5mph, then sped up. Ruined it for me.
Posted by: mswas at April 3, 2008 4:39 PM
[fingers in ears]
LALALALALALA...can't hear you, mswas, over Ronin is awesome...
Posted by: Shadows of Dakaron at April 3, 2008 4:45 PM
i love this movie! gary oldman is so good as a villain, but my favorite role of his is rosencrantz.
Posted by: kelley at April 3, 2008 4:50 PM
And yet, it's hard to find anybody who's seen that movie...
I've seen it, Shadows. I didn't even know it was obscure.
Posted by: Sarina at April 3, 2008 4:59 PM
Boo, you've entered enemy territory. I love Tatum's child performances...hell, I love "Little Darlings", too. I worshipped her as a child - I truly thought she was the prettiest thing I'd ever seen.
That said, this is the only Portman performance I genuinely like. Heartfelt and wonderful.
Posted by: samantha t at April 3, 2008 5:34 PM
Adding to the chorus. Love, love this movie. This is what movies are supposed to be like. There is nothing I want to change about this flick. Gary Oldman is at the top of his game. The EVERYONE! lime gets me every time.
Posted by: vadmspartan at April 3, 2008 5:38 PM
I became excited by simply seeing the title of this film on the homepage. I was even more pleased to find that you gave an excellent review. I love this movie. Thanks for showing it some attention, and good job on the review, TK.
Posted by: Endedrural at April 3, 2008 5:55 PM
i fell in love with gary when i first saw him in 'rosencrantz and guildenstern are dead' (1990) and then was over the moon for him in 'dracula'.
about 2-3 years ago, when i first joined Netflix, i rented every movie they had of his, (it took almost 8 months to get through it all). many i was seeing again, but so many more i discovered for the first time--some becoming new favorites!
what was really cool, it began to seem like as the movies came in the mail, they somehow corresponded to issues or events going on in my life, making the films, but more so, gary oldman a deep and personal component to my life.
great review for a great film!
Posted by: maxpurr9 at April 3, 2008 6:02 PM
Thank you! I love this movie, I forgot about it. It's truly a magnificent performance, Reno is simply true to life and very human. Portman is very good at a very young age and Oldman just gives me the willies.
Posted by: Kamikaze Feminist at April 3, 2008 7:31 PM
eeeeeeasily my favorite movie. thanks for the great review.
Posted by: heath at April 3, 2008 8:05 PM
Saw the American version ages ago, and that was amazing. I'll have to see it again now. To think this fragile woman-child was the same actress that was that painted piece of overdressed wood in those wretched Star Wars movies just completely blows my mind. Natalie almost redeems herself in Closer.
Julie, you pegged it with your comment about Jean Reno and his curious charisma. He is magnetic. Well done.
Gary is always amazing. I lack the words.
Damn, I want to see this again, right now.
Posted by: Lori at April 3, 2008 8:19 PM
Well, Lori...you have to give credit where credit's due...Lucas has always sucked when it came to the actual directing people part of his job. Brilliant, imaginative, far-thinking, yes...but couldn't direct a NapVag home video without three assistant directors and a babysitter.
Posted by: Shadows of Dakaron at April 3, 2008 8:26 PM
Interesting. I've never seen the film, and freely admit that before reading your review I knew precious little about this film apart from the main premise. I say interesting because:
A) It was, good one TK. I liked the one about the Mexican film too. Sorry, my brain is shot to pieces. I've handed in about 70 pages of essays, and given two seminars in the course of five days, so I know I'm pretty incoherent. I've also taken Benadryl, so mellow.
B) When you brought up that Mathilda has this--what is it? Elektra/Lolita complex?--I was reminded of a story that one of my sisters told a few years back. A friend of hers is a cameraman or something. Anyway, he does lots of stuff for film/TV productions, and hosts a radio show. So, one day she's talking to her friend, and somehow this movie comes up (and he didn't artificially bring it up, because she had known him for about eight years before learning this). Maybe she was boning up on her Stanislavski, because apparently little Natalie (he said she must've been about twelve), developed a crush on him, and followed him around the entire shoot.
I don't know, I thought I'd just slip it in there.
Posted by: Jo 'Mama' Besser at April 3, 2008 9:47 PM
Shadows, anything to fuel your fantasies. ;) Is Julie going to want to fistfight me?
Natalie almost redeems herself in Closer.
Lori, I challenge you to a duel! She was the best part of that film, and I will fight to the death for Evey Hammond.
I'm also slightly drunk.
Posted by: Nicole at April 3, 2008 11:56 PM
In this movie, much like in Beautiful Girls, there is this quality to Natalie Portman, where she may be a child physically, but emotionally/intellectually she isn't a child, not really and so the idea of a grown man falling for her is not so implausible or reprehensible. You know, like in Vargas Llosa's Ode to the Stepmother where the boy is 10 years old but not really a child so the idea of his seducing his stepmother doesn't seem that far fetched.
Posted by: Azraelle at April 4, 2008 12:03 AM
I adore this movie. I saw it in DVD when I was 17 and wanted to be Natalie Portman so badly. The action scenes were gruesome but was thoroughly well made. The ending made me cry so hard. Spot on review, TK.
I have to find the original version and watch it. I think I saw the US version.
Posted by: carrie at April 4, 2008 12:06 AM
Jo 'Mama...was wondering where'd you'd disappeared to. Sounds like you've been having fun!
Nicole, you obviously just don't know. As my internet fiancè / mistress has said...the more the merrier. You'll have fun, don't worry. I can tell you will...cuz you already got started with the "slightly drunk" thing. This is a new kind of drinking game ;)
Posted by: Shadows of Dakaron at April 4, 2008 12:08 AM
As my internet fiancè / mistress has said...the more the merrier.
Tis true. And Nicole, I would never hit an Eagles fan. Not unless you asked me to.
[I may be buzzed again. Why oh why did I buy that wine yesterday, it just turns my already perverted mind into a haze of dirty dirty thoughts]
And now I NEED to watch Leon again, I am CRAVING some Gary Oldman badassery.
Posted by: Julie at April 4, 2008 12:38 AM
Heh, yeah. I'm free come April 8th. Nothing to do but write proposals for a month. Fine Wine!
Posted by: Jo 'Mama' Besser at April 4, 2008 12:41 AM
That was a just top-notch movie review. Fantastic. It's very hard to get into and explain the relationship dynamic of this film and over the years many words have been spent trying to do what you just did here.
Posted by: AdaHaze at April 4, 2008 3:59 AM
Excellent review of one of my favourite movies. I'd only ever seen the shortened, US version up until about three years ago, but still considered it to be an awesome film. Then I saw the international cut, and the added material just made the experience so much richer for me, I was blown away.
Posted by: Dill The Devill at April 4, 2008 6:42 AM
High up in my all time favorite movies. I did not enjoy the 'International' version as much, but with the release of the 'Theatrical' version ... I now own both.
I was blown away by Reno, came to understand that Portman could be as big a star as she wanted to be and Gary Oldman became my idol!
For another Gary Oldman treat check out State of Grace (1990). If you have not seen it, you should.
Posted by: Stephen Mercer at April 4, 2008 9:18 AM
This may be a rather asinine question, but how do you know if you have the international version? Is it just called Leon, rather than The Professional? Or does it say international version on it? I ask because this is one of my all time favorite movies and I did not realize that I may have not seen the original extended edition--a major problem!
Bob, the international version is 133 minutes long. I believe it's 20 or so minutes longer. -TK
Posted by: bob at April 4, 2008 9:26 AM
i love love love this movie. when gary oldman screams "everyone!", it's one of favorite movie moments evah. thanks, tk.
Posted by: kb at April 4, 2008 3:19 PM
"In this movie, much like in Beautiful Girls, there is this quality to Natalie Portman, where she may be a child physically, but emotionally/intellectually she isn't a child, not really and so the idea of a grown man falling for her is not so implausible or reprehensible."
Sorry to be a party pooper, but, still a child, still creepy. That she's trying to act older is heartbreaking evidence that she's still very much a child, albeit a precocious one. It is an adult's responsibility to make that distinction.
Posted by: samantha t at April 4, 2008 3:36 PM
I love Gary Oldman. He is the definition of a true actor blending so seamlessly into his roles that often you don't recognize him. This movie holds a place in my heart only because of the actors. I can't say I found the plot very believable, even the dialog was often campy, but the whole thing was saved by Oldman, Reno and Portman. The character development was thought provoking and it worked in drawing you into another world. As creeped out as I was at the crush Portman had on Reno I began to almost accept it by the end and just saw it as strangely beautiful. I have to give props to a movie that can do that.
Posted by: LittleDead at April 4, 2008 3:39 PM
In my mind's eye, Matilda is out there, rocking as one of the best female assasins out there.
Posted by: Cathy at April 4, 2008 8:36 PM
Agree 100 percent with this review. This film hits on all cylinders, and the international cut is vastly superior in terms of character development. Leon and Matilda's relationship might not be a comfortable "romance," but it is completely believable and remains completely within the bounds of taste and being realistically appropriate. This is by far my favorite of Besson's films; most of his others are far too hyperactive and self-aware.
What I can't believe is that not a single fan here mentioned the score. In my mind that simple theme with its characteristic crescendo is what takes this film into transcendent territory.
Posted by: Darth Corleone at April 4, 2008 9:47 PM
Julie and Nicole, only slightly drunk? On wine?
Fire up a mojito, ladies, and come to the dark side where a sweet warm rum buzz awaits. I know you can do better. I got the mellow strains of Hotel California waiting for you.
Posted by: Lori at April 4, 2008 11:38 PM
I agree, TK, this movie is everything that cinema should be.
And also, if given the chance, I would smother Gary Oldman in bbq sauce and turn him like a rib. The man is perfection.
Posted by: Sarah at April 5, 2008 9:45 AM
I am usually a lurker not a poster but my love for this movie has brought me out of the woodwork. I saw this 13 years ago and loved it, I have pushed it on people ever since and only a few have felt the way I do about it. I remember turning to my husband at the end of the movie and saying "I don't know who that little girl is but she will be famous."
Posted by: tinksgirl at April 5, 2008 5:05 PM
[i]In my mind's eye, Matilda is out there, rocking as one of the best female assasins out there.[i]
Would it ruin the original, do you think, if they made a sequel of sorts? Hopefully a thoughtful and great director makes it.
Posted by: carrie at April 6, 2008 10:54 AM
A sequel? I don't know; I think Matilda as an assasin would be an insult to Leon.
Natalie Portman as Jane/Alice in Closer is awesome. I've watched that movie three times (and will do it no more- I hate that movie) and each time I've seen her character slightly different or noticed something I hadn't seen before. And I loved her as Evey. But I think she was better in Hotel Chevalier than she was in V for Vendetta.
Gary Oldman was on Friends?!
Posted by: Jon at April 6, 2008 2:20 PM
I too add my voice to the Natalie Portman love. The scene of her outside Jean Reno's door pleading to let her in -- fucking brilliant!
Awesome review
Posted by: Finn at April 6, 2008 7:42 PM
You mean you thought Oldman's performance here was better than his Serious Black performance in the Potter movies? (sarcasm)
Actually, I thought this one was great, but my favorite Oldman performance was in "True Romance." What was his character's name? Clarence?
"Now I know I'm pretty..."
"Is it White Boy Day?"
Posted by: Jez at April 7, 2008 4:55 PM
Sirius
Sirius Black
Cause, you know, he turns into a dog.
Yet that went right over my head for several goddamn years until I saw the Black family tapestry with all its stellar names in the movie. Thought I was clever knowing what "lupin" meant. Sad.
Posted by: Jay at April 7, 2008 5:18 PM
To this day, Oldman's last line is still one of the best moments in cinimatic history...
Posted by: smatt584 at April 13, 2008 8:04 PM
Leon the Professional has really good script and good acting by all characters. The action is almost out of sequence and for anyone that watches it the first time is just left wanting more.
THERE IS SOME STRANGE scene which i never heard mentioned and having saw hundreds or reviews never said anything until now.
One scene where matida is excercising about 2 sec cut until you see her in her whites. YOU WILL notice on top of the tv a tape or sign says" ADULT MOVIES".I always thought of the movie as Leon being more a father figure until that creepy prop. What you people think did you ever even see this?
Posted by: joe at July 15, 2008 2:35 AM