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Leon: The Professional
Crime, Drama, Thriller
IMDB rating:
Luc Besson
Jean Reno as Léon
Gary Oldman as Stansfield
Natalie Portman as Mathilda
Danny Aiello as Tony
Peter Appel as Malky
Willi One Blood as 1st Stansfield man
Don Creech as 2nd Stansfield man
Keith A. Glascoe as 3rd Stansfield man (Benny)
Randolph Scott as 4th Stansfield man
Michael Badalucco as Mathilda's Father
Ellen Greene as Mathilda's Mother
Elizabeth Regen as Mathilda's Sister
Carl J. Matusovich as Mathilda's Brother
Frank Senger as Fatman
Storyline: After her father, mother, older sister and little brother are killed by her father's employers, the 12-year-old daughter of an abject drug dealer is forced to take refuge in the apartment of a professional hitman who at her request teaches her the methods of his job so she can take her revenge on the corrupt DEA agent who ruined her life by killing her beloved brother.
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One of those movies that remain stuck to mind
I watched this film on DVD that I borrowed from my friend, who recommended it after I asked him for some refreshing thriller, but I ended up getting something more than that. It's just brilliant in every aspect - from casting to call, and from beginning to end, without a little distraction in between. Luc Besson has done a good job, and Gary Oldman! My god! Why didn't he win an Oscar for this role? Jean Reno did a terrific acting and so did the young Natalie.

What starts off as an introduction to the 'cleaner' takes a whole new direction as the girl meets our Hit-man. Then comes Norman, the bad-ass cop, for a drug related issue with the girl's father. A murderous scene that sets in so naturally that I felt I was in that room. The girl is fortunately safe and credit goes to her mother who sent her to the grocery and Leon who allows her inside after she seeks help witnessing the aftermath.

Later on I thought the story between Leon and Mathalda would go somewhat like Terminator-Judgement Day. But there was something even more special. Leon is losing his murderous instinct bit by bit as he grows into a 'Caretaker' and Mathalda loses her craze for killing and adulthood again a bit by bit. The way the climax has been written and presented, boy! 200 cops on one man, and still they struggle to take him out until he finally sacrifices his life to save the pretty girl. Every thing in the middle, that I've left out is something that I can only feel from the experience of watching this movie. Natalie Portman is now a huge star, and she deserves her stardom and acclaim after having acted like this in her very first film, and remember its no small film.

It's a type of movie that I get to watch on rare occasions. Something that remains stuck in my mind after days of watching!
Amazing Movie...
Besson seems fascinated by the "Pygmalion" story, by the notion of a feral street person who is transformed by education. He crosses that with what seems to be an obsession with women who kill as a profession. These are interesting themes, and if "The Professional" doesn't work with anything like the power of "La Femme Nikita," it is because his heroine is 12 years old, and we cannot persuade ourselves to ignore that fact. It colors every scene, making some unlikely and others troubling. The film opens with one of those virtuoso shots which zips down the streets of New York and in through a door, coming to a sudden halt at a plate of Italian food and then looking up at its owner. Besson must have been watching the opening of the old Letterman show. The man eating the food is a mob boss, played by Danny Aiello, who wants to put a contract on a guy. The man who has come whizzing through the streets is Leon (Jean Reno), a skillful but uneducated "cleaner," or professional hit-man. We see him at work, in opening scenes of startling violence and grim efficiency. In the course of the movie, Leon will, in effect, adopt his neighbor Matilda (Natalie Portman), a tough, streetwise, 12-year old girl. She escapes to Leon's nearby apartment after her family has been wiped out by a crooked top DEA enforcer named Stansfield (Gary Oldman), who wants to kill her too. Matilda wants to hire Leon to avenge the death of her little brother; in payment, she offers to do his laundry. Leon wants nothing to do with the girl, but she insists, and attaches herself like a leech. Eventually she develops an ambition to become a cleaner herself. And their fate plays out like those of many another couple on the lam, although with that 30-year age difference. Matilda is played with great resourcefulness by Portman, who is required by the role to be, in a way, stronger than Leon. She has seen so many sad and violent things in her short life, and in her dysfunctional family, that little in his life can surprise her. She's something like the Jodie Foster character in "Taxi Driver," old for her years. Yet her references are mostly to movies: "Bonnie and Clyde didn't work alone," she tells him. "Thelma and Louise didn't work alone. And they were the best." (To find a 12-year old in 1994 who knows "Bonnie and Clyde" is so extraordinary that it almost makes everything else she does plausible.) So Leon finds himself saddled with a little sidekick, just when the manic Stansfield is waging a personal vendetta against him. Although "The Professional" bathes in grit and was shot in the scuzziest locations New York has to offer, it's a romantic fantasy, not a realistic crime picture. Besson's visual approach gives it a European look; he finds Paris in Manhattan. That air of slight displacement helps it get away with various improbabilities, as when Matilda teaches Leon to read (in a few days, apparently), or when Leon is able to foresee the movements of his enemies with almost psychic accuracy. This gift is useful during several action sequences in "The Professional," when Leon, alone and surrounded by dozens if not hundreds of law officers, is able to conceal himself in just such a way that when the cops enter an apartment in just such a manner, he can swing down from the ceiling, say, and blast them. Or he can set a trap for them. Or he can apparently teleport himself from one part of an apartment to another; they think they have him cornered, but he's behind them. So many of the movie's shoot-outs unfold so conveniently for him that they seem choreographed. The Oldman character sometimes seems to set himself up to be outsmarted, while trying to sneak up on Leon in any way not actually involving chewing through the scenery. The premise "La Femme Nikita" was that its heroine began as a thoroughly uncivilized character without a decent bone in her body, and then, after society exploited her savagery, she was slowly civilized through the love of a good, simple man. "The Professional" uses similar elements, rearranged. It is a well-directed film, because Besson has a natural gift for plunging into drama with a charged-up visual style. And it is well acted. But always at the back of my mind was the troubled thought that there was something wrong about placing a 12-year-old character in the middle of this action. In a more serious movie, or even in a human comedy like Cassavetes' "Gloria," the child might not have been out of place. But in what is essentially an exercise - a slick urban thriller - it seems to exploit the youth of the girl without really dealing with it.
Very well executed
This film was absolutely amazing. I have spent hours re-watching various scenes and noticing all the perfection with which they are acted and directed. It's not the violence or action sequences that make this movie so great (although they are well done...), but rather moments like where Mathilda knocks on Leon's door. It would be so easy to just film the door opening, but instead we see light illuminating Natalie Portman's face, symbolizing something angelic. And the moment has so much more meaning.

I know a lot of people who have seen this film because they are action fans. I'm not. But I'm glad I finally found it, because it's a wonderful film in so many other ways.
Character-Driven, Action-Packed Besson - Incredible
N.B. Spoilers within. Part action/thriller, part character study, "Leon (The Professional)" is a sure-fire bet for lovers of both categories. The story is about the meticulous hit-man and determined loner Leon (an amazing Jean Reno) and the precocious 12-year-old Mathilda (the equally amazing Natalie Portman) who crashes his party. They are vastly different from each other, separated not just by wide gaps in age, culture, and experience, but by their basic psychologies.

Leon runs a strictly one-man show by sheer will and by necessity: it allows him to survive and flourish. But as bottled up as he is, he is marked by tragedy and sorrow. These feelings he keeps tightly compartmentalized, which makes him so successful as a killing machine. Enter Mathilda, the product of a wholly dysfunctional home, where she was regularly beaten and abused by her drug-dealing father and loveless family. Despite this, she is by nature a strong, hopeful, and highly intuitive girl. The movie throws these two together and lovingly documents their emotional journey toward each other.

All of this is skillfully woven with Leon's violent line of work, providing the film with some spectacular action sequences. It gets even better when the savvy Mathilda joins Leon on the job, giving her a sense of purpose while forcing Leon to join the human race, or at least one headstrong member of it. The movie really succeeds when it goes deeply into the emotions driving each character. Mathilda, after all, is just discovering love and sexuality, which she presses on Leon, the object of her newfound desires. As for him, Leon can barely stand this nuisance at first, but gradually becomes the caring father figure she never had. The more she gets under his skin, the harder he looks into himself to do the right thing for her. This whole process becomes incredibly touching. You root for these two oddballs; they flesh out a unique love story.

Meanwhile, Leon and Mathilda are up against one of the stranger villains of the 90s, the malicious D.E.A. agent Norman Stansfield (Gary Oldman: he scores again). Stansfield is also an oddball: he is outrageously high-strung (always being pampered and brought back to reality by his fellow nasties), he pops weird pills, and rambles on about Beethoven to his soon-to-be-dispatched victims. In any case, he is a creepy, ruthless dude.

Besson keeps the tension high for much of the film, letting go only long enough for the occasional scene where Leon and Mathilda have some time alone. (The two actors really shine here.) Otherwise, the film has a running undercurrent of menace and unpredictability. Compassion and cruelty weave continually in and out.

The film's climax is gripping, and the do-or-die moment when Leon and Mathilda say goodbye is positively heart-wrenching. The two have come a very long way. A good word should be put in, too, for the always dependable Danny Aiello as Tony, Leon's boss and a father figure himself.

This is a smart, highly enjoyable film – tight, focused, and personal. It's a rush for the senses and a gratifying story of memorable characters.
Brilliant, touching and confronting
This film displays outstanding portrayals of different characters, a clever and touching screenplay and fantastic cinematography.

Acting: A young Natalie Portman performs with skill and grace. Jean Reno played a touching yet secretive hit-man brilliantly. Gary Oldman is cold and heartless and does it with ease.

Plot: The plot is executed fantastically. The ending is touching, but action-packed and is thankfully not the least bit soapy or sappy.

A fantastic film that graces the screen with elegance and poise, and does not disappoint action fans. 'Leon: The Professional' is truly a film for almost anyone. 'The Professional' is very professional indeed.
Best hit man movie ever
Luc Besson has created the most complete paid assassin film I've ever seen. Jean Reno plays the killer with a çombination of skill and daring and Natalie Portman is a Lolita- esque wannabe "cleaner" who Reno takes under his wing. Cleaner is the term used for a hit man and the premise of this movie is Reno training Portman how to kill efficiently without getting caught in the process.

Nathalie(Portman) is a 12 year old girl who has witnessed the execution of her mother and father and is then instantly orphaned. Reno ends up taking her in and helping her avenge her parents deaths.

What follows is heart stopping action and a tender love story which never crosses the line into pedophilia. The chemistry between Reno and Portman is magical and Gary Oldman is the perfect villain. I was just blown away by this thriller.
Deeper than the descriptions
This movie has so many levels to it any description doesn't do it justice. The juxtapositions of what assassins should be concerned with, what little girls should be protected from, what evil men do to create chaos in this world, . . . Too many well-thought out interactions between characters to do the film justice with descriptive words. If you do not experience vile anger, compassion for killers, heart-felt paternal wishes to whisk this child from adult evil or the need to cheer ruthless revenge without guilt, then you are simply not human. The depth and presentation of these characters by excellent, superb acting is only overshadowed by the writing of this masterpiece.
I was in Wal-Mart yesterday looking through DVDs when I came across a movie I had seen several times on television, "The Professional." It was on the night before and I had to get it. I love this movie. Every character in it is an individual. When I told my mother and sister what the movie was about they looked at me with a look on their face that said "He's a hit-man. He's--a--hit-man." Who said hit men can't have a soul? This one does. The detail of character in this movie is stunning. It has no shame either, and proudly displays images and moments with the raw truth. This little girl does bleed, she does see violence and filth, she does smoke cigarettes and gets slapped by her father. She has no sorrow for her dead and useless family, only her innocent little brother. A hit-man is her idol because he showed her kindness, he did more for her than her family ever did.

Leon himself is a great guy. I found myself wanting to be like him at some points. Even though he is a killer, the man has morals. He has more morals than anyone in any other action movie with explosions and such that I've ever seen. He's very swift on his feet and even though he seems like a very serious person, he can laugh and grin a large smile. The character is just so natural, so graceful in acting. Like I said, detail is shown very well in this movie. Ooh, my favorite though...OH, MY FAVORITE...!...Is Gary Oldman's character, Stansfield. I LOVE him! The moment he comes onto the screen my face lights up like cigarette :). I was actually attracted to him because of his character....Ooh, so deliciously evil! He delivers comedy and cruelty all in one, and he holds that gun so well! I loved how close he got to people. To tell you the truth, it made me a little uncomfortable, haha. But he got so close to Mathilda. Just him and her, and he's poking a gun right in her face. It just goes to show how merciless and serious he can be. I was happy to see the extra scene they cut out from TV right afterward when Willie comes in and interrupts and he's deciding what to do with her.

Stansfield is so strange and shifty, he motions to her awkwardly with the gun to come with them, but then suddenly points it at her and takes aim, but then just thinks to himself "forget it" and puts his arm down. Great character. The storyline itself is good too. No one is afraid to talk about/do things that a lot of other movies won't do. They don't censor out what makes people seem real. They give a 12 year old knowledge she shouldn't know and ways of acting that most parents would shudder at. The hit-man is human and considers what he does a job and when he's not doing his job he's a very decent human being. The villain is a little wacky, but he pulls it off very nicely. He fits the part of a psycho perfectly. The lines in the movie can be catchy and touching, little moments make it all worthwhile. The scene where she walks past her dead family and up to Leon's door is so amazing. She's crying helplessly for him to open the door. I mean, you really can see it in her eyes that she's begging. Wonderful acting, especially for such a young actress. It amazes me how well she does with adults, right in her face too, and all the adult related topics too that she deals with. Anyway, I wish I could write more passionately and interestingly as do a lot of people who write comments, but I just don't think I have a large enough vocabulary. This movie is not easy to explain in words for me. I can only sum it up as "Unique, inspiring (the whole hit-man thing...), amazing, conscious, dramatic, wonderfully acted, and talented." Well, those words poppped into my head. I could say more, but I don't know how.
I have just watched it again for the 100th time...
There really is nothing I can say bad about this film. I have read the negative reviews in here and I am just left wondering how stupid these people must be. How do they not get it? Is it because there is too much emotion or connection with the characters or was the way it was expertly directed a problem? I always love a film that breaks the mould and gets away from cliché film scenes. I can remember watching this film years ago and I still love it as much today. The characters, the story and the whole damn way it is filmed.

I 100% recommend this for anyone who loves a film that isn't saturated in Hollywood filth. This is a highly recommended masterpiece.
i love mathilda
She was so pretty thats all what i watched...

I saw this movie because her ..

my feeling is also from her..

"because he killed my brother.... he never used to cry....."...

"But he's not really my father............. he's my lover.." very cute!! And Sting's Shape of my heart.. i cant say it by words..

this movie is best movie of my life...

The s.s redeption?? the Godfather?? no..

TO korean,, and at least to me...

This movie is best..

Sorry bad English ..
See Also
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