“Leon: The Professional” is reminiscent of a period of American action film made by a seemingly unidentified figure between the Atlantic, Luc Besson (La femme Nikita 1990 , Nikita TV series, Taken movie series, …). Besson was also one of the New Wave directors of French cinema, like Jean-Luc Godard seniors, Francois Truffaut, who opposed old stereotypes that revolted against old cultural remnants. They use cinema as a modern medium instead of a personal voice. Besson has taken part in the European film revolution to change the way filmmaking is done, with more realistic, wicked, darker, but more human themes.
Léon: The Professional was filmed in New York with casts from France and the United States, violent films, the smell of gunpowder, the cruel coldness of the society operating under the underground rule, signaling For the fall of a praiseworthy civilization that is peace and kindness, but at the same time Léon also honors the value of love, the only strength that will draw the pain to return the person to return with. peaceful. Besson’s distinctive film, when the act of violence is bloody but still hatches the seeds of love, a “balance” that Leon maintains. Besson seems fascinated by the disorderly narrative: the police break up into cold-blooded murderers, or assassins shaken by love.
With Léon: The Professional, why is Besson the focus of the story as a 12-year-old girl? A relationship based on loss of hatred, like two friends, associates, father and son, but also lover. Is she the reflection of a human being at the moment of choosing to step into the dark or turn out to light? At the same time, the film also marked the outstanding role of Natalie Portman when she was 12 years old.
The film opens with light, flashy, neat footage of New York street views through a door, then stops abruptly at a table in a pretty little Italian restaurant on the side of the road. A fat man named Tony (Danny Aiello) is in negotiations with a mysterious sunglasses guy who drinks milk only. He is Leon.
Léon (Jean Reno) only accept transactions from Tony, never face-to-face with customers, $ 5000 per person. He lived alone in an apartment, his only friend was a potted plant, drinking milk only and always sleeping. Léon has its own rules of behavior that never change. He also frequented the movie theater in the morning to see Gene Kelly’s Singing In The Rain as a way to fill the void with carefree joy.
Léon had met Mathilda in the hallway when she was smoking a cigarette with her face bruised, her hair cut across her sexy, black necklace and colorful socks. The appearance of Mathilda looks like a Parisian underage. Is this life only suffering? Or does this only happen when I was little? ” She quickly proved herself to be a surplus product of the family, where the misfortune finally came to light the next morning when she met Léon. “She’s dead,” Mathilda imitated her mother’s cold voice over the phone with the principal. In his complicated family, the only person Mathilda wanted to stick with was his four-year-old brother. Mathilda is a beautiful but unhappy creature in this world, when the whole family and society refuse. Misfortune is the reason why Mathilda soon collided with life at this age, the strong exterior is her weakness, because she is the one who needs to be protected than anyone else. But the story is still at the forefront with overview details for viewers who know who Léon is, who Mathilda is. The film’s rhythm only really came into play when Gary Stansfield (Gary Oldman) appeared, a drug dealer hiding under the shadow of a police officer. He killed people like beating a Beethoven’s symphonies wildly in fierce, audacious voices. On the scene of agitation as a psychiatrist, Gary Oldman’s Stanfield offered the viewer the best segment of his career: when he killed all of Mathilda’s family in just one song. “I like the relaxed moment before the storm, that reminds me of Beethoven. Do you hear anything? As if you were lying on the grass and you could hear the sound of the insect crying in your ear. Ah forget, do you like Beethoven? ”
Léon owns a clever storyline because of the distinctive character of the characters that are so clear and plump. Three people, three fates, Besson had them meet in adversity: one afternoon, Stanfield murdered Mathilda’s family in the apartment where she and Lon were staying. He put their relationship in this space, and at the end of the film, their relationship is resolved here. This encounter as a relationship of fate, between the two men of the moral line and a girl in the face of adulthood. Feud and love flourish from here. And Besson, himself, had arranged that this place would end the feud and that love be transformed into eternity.
Besson refuses to express all the nuances of character morphology. Léon saw the dramatic tragedy of Mathilda when she touched the gun, in which he raised up feelings for saving Mathilda’s life. Really! Such a definitive killer is afraid of others going their own way? But the way to build symmetry in psychology is a surprise point of the film, as Besson seems to have created a trap in human personality, Léon is the protagonist, and the protagonist even comes from What is still a counterbalance to the villain, but no, at one time Léon was holding a gun to the bedroom to shoot Mathilda. She has the most wildness of character, such as the character Jodie Foster on Taxi Driver, she has seen the sad and violent things in her life, accompanied by the sentiment for Léon, The effect is throbbing warm in the stomach. It was the first time she felt the same way about love. Mathilda’s maturity in thought and thought has also been elevated to a universal notion of philosophy, in which Besson attaches itself to a dialogue between the two generations, nearly 30 years apart, to show that Only the feeling of love can make a great improvement in the perception of being human.
Mathilda and Léon, they can not act without the other, like Thelma and Louise (from Thelma & Louise 1981), or Bonnie and Clyde (from Bonnie & Clyde 1967). The origins were Mathilda’s apprenticeship, culminating when Léon battled alone with hundreds of police officers surrounded the building with the last shot, to regain Mathilda’s life from Stanfield. Leon knew Mathilda was the prey Stanfield used to destroy him, and he was able to create another trap, or leave her to be safe. But Mathilda needed him. And that was the reason Léon had to return. Although Léon: Professional was immersed in the smell of gunpowder and especially the crazy grayish color of Stanfield’s hands, Besson quickly cooled down with romantic images like plant pots, or fun moments between Mathilda and Leon, most unforgettable, was when she asked Léon to sleep as a normal person. But at the same time, Besson never neglected Léon’s quick judgment in the face of Stanfield’s quest. And after that normal sleep, I have the feeling that Besson will continue to create a new wave, and that’s the way it is.
The film also reminds the audience that: Without love, human beings would die, even if we can not see it. But love has the supreme power of the universe: thanks to love, people know how to move and leave their wild nature.
Luc Besson’s “Leon: The Professional” is not a film of realism, nor of naturalism, but simply: it is real.