Retro Film Review: Léon: The Professional (1994)

(source: tmdb.org)

Few examples seem as appropriate for the phrase "style over substance" as the career of French filmmaker Luc Besson. His films earned great deal of popularity simply by looking "cool" and flooding the audience with impressive sounds and images, while seriously lacking coherent plot and character development in the same time. Besson addressed at least some of those problems in his 1990 film La Femme Nikita. However, it seems that Besson thought that at least some characters of that film weren't sufficiently explored, namely The Cleaner, played by Jean Reno. Four years later, the variation of that character became the protagonist of Léon: The Professional, action film that is now mostly associated with the career of Natalie Portman.

In this film Jean Reno plays Léon, man whose job description might very well be summed up in the phrase "cleaner". He is one of the deadliest hitmen in New York underworld, able to complete even the most complicated and difficult tasks with + incredible efficiency and without leaving any trace. Léon's professional success is in + sharp contrast with the quiet and utterly ascetic private life he mostly spends in his small apartment. His 12-year old neighbour Mathilda (played by Natalie Portman), on the other hand, has a lot of problems with drug-dealing father (played by Michael Badalucco) and the rest of her dysfunctional family. Things get even worse when the family gets a visit from the group of corrupt DEA agents, led by psychopathic Norman Stansfield (played by Gary Oldman). Mathilda is the only survivor of the massacre and she seeks the refuge behind her neighbour's door. Léon takes her in and reluctantly agrees to shelter her until things cool down. Mathilda is, on the other hand, quite impressed when she finds about her protector's true profession so she wants to use his talents in order to avenge the death of her 4-year old brother. First she wants to hire him, then she wants him to teach her skills of "cleaner", while Léon, utterly inexperienced in personal relationships, unsuccessfully tries to keep both of them from out of trouble. However, presence of the girl begins to affect Léon and he becomes to sees the previous emptiness of his life. Stansfield in the meantime becomes aware that he left the eyewitness during the massacre so the extremely violent conflict between him and Léon becomes inevitable.

Besson again remains faithful to his reputation by filling Léon: The Professional with many visually impressive scenes and very atmospheric and memorable music by his long-time collaborator Eric Serra. Besson's talent is most visible in action scenes, especially the final showdown, which is probably one of the best-choreographed gun battles in the past decade. However, old-fashioned phrase "style over substance" still hurts this film and whenever Besson decides to pay much attention to the plot and character development, the lack of those particular talents becomes quite apparent. Large amount of implausabilties in the Besson's screenplay (it is really hard to imagine ultra-efficient yet illiterate hitman in modern-day New York or said low- profile hitman choosing to live next door to drug dealers) is the only part of the problem. Greatest flaw of this film is Besson's inability to decide how to handle the relationship between 12 year old girl and the hitman three times her age. Various avenues - ordinary friendship, substitute parenting and even Lolita-like relationship - are hinted, but never sufficiently explored, so after the few scenes in the beginning film meanders until violent finale brings some sort of conclusion. However, the acting in this film superb, especially in the case of Reno who seems as the perfect choice for this role. Although young Natalie Portman shows a lot of talent in her first feature film role, sometimes that performance slips into overacting. Gary Oldman, on the other hand, does his trademark psycho routine very well, while Danny Aiello provides good contrast with his minimalist approach to the role of Léon's mob contact Tony. Taking everything into consideration, Léon: The Professional seems to be one of the most overrated films of the past decade, but Besson's skills of action director are enough to guarantee entertainment to those who like "artsy" approach to that particular genre.

RATING: 6/10 (++)

(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on October 28th 2000)