Leon

Tags

1990's, Crime, Danny Aiello, Gary Oldman, Jean Reno, Leon, Luc Besson, Natalie Portman, Thriller

Film Title

Leon

Director

Luc Besson

Starring

• Jean Reno as Leon
• Natalie Portman as Mathilda
• Gary Oldman as Norman Stansfield
• Danny Aiello as Tony

A stylish but most unusual crime thriller, Leon burns into the memory with explosive set pieces and an attention to the characters that is sometimes rare in the genre. Featuring some off the wall visual tricks and violence a plenty, it’s a thriller that does things a little differently but with panache.

Leon is a solitary hit man living in Little Italy who is emotionally shut off and very efficient at his job of killing others. When he isn’t dispatching of people for mafioso and good friend Tony, he is quite different from the average hit man. This is evidenced in his love of old movies, consumption of milk and dedicated to tending to his plant. In essence, Leon is only in the job to make ends meet. His distance from everyone else is what makes him so good at the job as he never really forms emotional attachments to anyone. That is until he encounters Mathilda; a twelve-year-old girl who comes from a dysfunctional and abusive family and lives down the hall from him. Mathilda’s father, who regularly gives her a black eye, has been stashing cocaine in his apartment for corrupt DEA agents, headed by the crazed and depraved Norman Stansfield. When Stansfield finds out that her father has been cutting the cocaine to keep for himself, Stansfield sends his men around and they kill Mathilda’s father, mother, step-sister and four-year-old brother. Mathilda managed to avoid the carnage as she was out shopping. Seeing what has happened, the scared Mathilda knocks on Leon’s door begging for a safe haven. He has doubts at first, but something within him lets the terrified young girl in. Mathilda is a troubled girl who has had to grow up fast in an unjust world of violence, yet underneath she is still a frightened and innocent little girl. Leon is skeptical about sheltering Mathilda as he is shut off emotionally and doesn’t quite know how to express his feelings. When Mathilda discovers Leon’s job, she asks him to train her in the art of killing, secretly hoping to gain retribution for the killing of her younger brother, who was the only person in her family that she felt close to. Although he is extremely reluctant about this because he knows the dangers, at her behest he trains her and she becomes a quick learner of the art. Slowly, Leon and Mathilda form an unlikely bond with each other as he grows into the role of her protector and opens up emotionally while she emerges as his protégée. Yet Stansfield has realized that he didn’t kill the whole family and sets out to find Mathilda, who herself is learning how to kill and plans to get revenge on him for the slaying of her brother. Leon finds that his job is becoming in danger like never before as Stansfield closes in and Mathilda wants vengeance.

Luc Besson, through striking visual style and interesting writing, creates a thriller that takes many different steps that one would thing. He craftily mixes personal drama and sharp bits of humour into Leon, with the main focus of the film being the relationship between the principal characters and not just the action and violence. This really struck me as something very unique in this kind of film as some thrillers and crimes movies can overlook their characters for flashy tricks. And while Leon does have rapid editing and a bright cinematography to highlight the dingy setting of the flick, complete with bloody violence to cap that off, it never loses us for a second and the scenes between Leon and Mathilda take on a more personal level. Some may find the relationship between Leon and Mathilda as uncomfortable due to overtones of Mathilda’s attraction towards Leon, but I saw it as she does love him, but as she is only a child it is an a way that is out of care and respect as she has never had a father figure like him before. An echoing score of pulsing beats gives electric immediacy to Leon, as well as taking the time to slow down and bring a poignant sense of emotion as Leon opens up as a human being in the presence of young Mathilda.

In the title role of the lonely hit man, Jean Reno is very well cast. His melancholy face is used to great effect as we watch how closed off he has been to anyone and how when he does let someone in, things start to get personal and very dangerous. Reno is the only actor I can think of playing the part, no other actor could have done the part of the hit man with a buried heart so well. Yet the biggest impression made in Leon is Natalie Portman in what was her debut role. Considering she was only twelve-years-old at the time of filming and it was her first movie, Natalie Portman showed how even at her young age she could be remarkably assured as she plays Mathilda with confidence and seeming ease. Some of the things the script calls for are daring for such a young actress to play as the character has had to toughen herself against an abusive home and the horrors of the world, but with an emotional core and sassy demeanor tempered with a troubled nature, Natalie Portman delivers a truly knockout performance. This is the kind of performance that stands as one of the best debuts in celluloid history for its striking maturity and memorability. As the gloriously corrupt and completely whacked out Stansfield, Gary Oldman is frightening and over the top in the extreme, but it fits the unpredictable character so well and makes him a dark villain. Danny Aiello succeeds in making his character of mafioso Tony who has loyalty to Leon, very good and a a good supporting character.

An audacious movie combining style, substance and occasional wit, Leon sets itself apart from many crime thrillers with its detail to characters and fresh approaches to things that make it quite unexpected.

Lady in a Cage

Tags

1960's, Ann Sothern, James Caan, Jeff Corey, Jennifer Billingsley, Lady in a Cage, Olivia de Havilland, Rafael Campos, Thriller, Walter E. Grauman

Film Title

Lady in a Cage

Director

Walter E. Grauman

Starring

• Olivia de Havilland as Mrs. Hilyard
• James Caan as Randall
• Jeff Corey as George
• Ann Sothern as Sade
• Jennifer Billingsley as Elaine
• Rafael Campos as Essie

Stark and highly suspenseful, Lady in a Cage is a surprisingly lurid and at times brutal thriller from the 60’s. Parts of it reek of being dated and melodramatic, but I was still surprised by how effective and shocking this movie was at keeping me on edge like all good thrillers.

Mrs. Hilyard, a wealthy widow is recuperating after breaking her hip. To get around her house better, she has had an elevator installed to help her get between the two main floors. With her son away, who she often mollycoddles a lot, Mrs. Hilyard attempts to find something to take her mind off being alone. But when she uses the elevator, which at times resembles a cage, a power failure causes it to stop midway and she is left trapped. She tries to call for help but no one seems to come. That is until the homeless alcoholic stumbles into her home and instead of helping her because of his addiction, steals some of her belongings. He proceeds to visit his only real friend, the weary prostitute Sade. Both are desperate for money so they return to the house to see what else they can hawk for cash. The duo gains the attention of a violent troika of teenage hoodlums; savagely brutal leader Randall, lecherous Essie and violence loving Elaine. The teenagers cotton on to the idea of money and riches and follow George and Sade to the house. Meanwhile, Mrs. Hilyard is slowly beginning to crumble in fear and things get a whole lot worse when Randall and his posse arrive and indulge in games of violence and torment with her, and Sade. Can this civilised and well-bred woman manage to survive the ensuing brutality around her and free herself from the eponymous cage?

Walter E. Grauman coats Lady in a Cage in a bleak and unforgiving light, that makes the events that transpire even more horrifying. Themes of indifference and cruelty are explored with a lot of dramatic impact generated. The fact that when Mrs rings for help no one seems to notice taps into society’s culture of being to busy to notice important things and it is presented against the backdrop of savagery that soon invades her house. The stark and at times harsh black and white cinematography is used to terrifying effect as it brings more darkness to the film, despite the events all taking place over a sunny day. Now it must be stated that Lady in a Cage despite holding up well in various areas, does have parts that have dated badly. The main instance is the inner monologue of Mrs Hilyard, which seems like a good idea but eventually becomes more than a little repetitive. In other instances some of the film gets a bit histrionic, but thankfully due to some of the content that is still shocking today it succeeds above these two flawed elements. A shifting score of tempo and volume ushers in uneasy feelings for the characters and audience.

Olivia de Havilland is excellently cast as the trapped woman of the title. Through her performance, we as the audience share her suffering and turmoil as her civilised world is torn apart and she must fight to survive the carnage. Sympathetic, desperate( as evidenced by the fact that Mrs Hilyard makes her own conversation to alleviate her panic) and traumatised, yet still holding on, de Havilland is oh so marvellous in the part and she displays such tangible emotions that we can’t help but want her to live through the terrifying plight she endures. In his first really substantial film role, James Caan is disgustingly evil as the leader of the gang who delight in terror. He really strikes fear into the heart of this film and many of the shocking events unfold as a result of his character’s cruelty. Jeff Corey and Ann Sothern manage to make their characters, who are in essence thieves sympathetic, because they may break into the house but their violence and means are nothing as vicious as the trio of demented teenagers. And speaking of the horrid teenage hoodlums, Jennifer Billingsley and Rafael Campos as the loyal followers in the gang are equally as creepy and filled with disturbed menace.

A thriller film that isn’t afraid to be shocking and disquieting, Lady in a Cage showcases talented acting and dark subject matter in a highly compelling and difficult way. Archaic as some of it is, one can’t deny the power of the film and what it taps into. Who knew a movie from such a long time ago could still retain a brutal impact?