The Game-Changing French Crime Movie Behind David Fincher's 'The Killer'
Discover how David Fincher's 'The Killer' pays homage to the classic French crime film 'Le Samouraï', shaping an entire genre with its masterful camerawork and emphasis on compelling characters
Article Summary
Jean Pierre-Melville's Le Samouraï is a seminal film that has influenced filmmakers such as David Fincher and shaped the genre of criminal thrillers.
The precise movements in the film's camerawork influenced Fincher's distinctive style of remaining covert and downplaying the filmmaking process. Le Samouraï adds depth and emotional vulnerability to assassins and criminals, resulting in a lasting impact on the genre.
French New Wave legend Jean Pierre-Melville is credited with creating the genre of spies, thieves, and assassins, making it possible for David Fincher’s upcoming Netflix release The Killer to exist. Originally titled Le Samouraï, this 1967 film has influenced many filmmakers, including Walter Hill, John Woo, and Jim Jarmusch. Despite being part of the French New Wave, Le Samouraï stands out from others in the movement, such as The 400 Blows or Cléo from 5 to 7, with its existential despair and Alain Delon's portrayal of the solitary Jef Costello. While lacking in conventional narrative norms, the film remains character-focused, even with the minimal dialogue.
Image via Criterion CollectionLe Samourai
After professional hitman Jef Costello is seen by witnesses his efforts to provide himself an alibi drive him further into a corner.
David Fincher Calls ‘Le Samouraï’ the Most "Obvious" Reference in ‘The Killer’
To avoid revealing any spoilers, we will discuss The Killer in a way that is suitable for those who have not seen it. During a red carpet interview with Letterboxd, Fincher emphasizes the significance of watching movies to grasp the cinematic language, particularly in relation to how shots from various perspectives create a sense of geography. He later specifically mentions Le Samouraï as a major influence on his approach to creating an assassin film. However, it is important to note that the impact of this film on Fincher's work goes well beyond the fact that his latest project features an assassin as the main character.
While Fincher recalls numerous other assassin movies he watched as a child for inspiration (such as Get Carter, Charley Varrick, and The Mechanic), the influence of Le Samouraï and its groundbreaking filmmaking techniques can be clearly seen in Fincher's earlier works. The director has extensively explained his disregard for the auteur theory (in a passionate defense of the collaborative nature of filmmaking) and, although his frames may not be as instantly recognizable as Wes Anderson's, his camerawork is characterized by meticulous and calculated movements that dispel any suspicion of covert filming.
Melville’s Camerawork Seemingly Influenced Fincher’s Signature Style
David Fincher is known for his subtle approach to filmmaking, using CGI in a secretive and detail-oriented manner while ensuring the camera moves in any direction necessary for the story. This can be seen in films like Panic Room and The Girl with the Dragon Tattoo, where the camera's gaze seemingly knows no boundaries, regardless of whether the main character is aware. A similar technique can be found throughout Melville's work, particularly in Le Samouraï, where the point of view shifts between Delon's Costello and the Commissaire who is after him (played by François Périer). Even in the film's most intense moments, the camera typically follows the characters, showcasing Melville's talent for capturing the quiet yet impactful movements in his cinema.
Le Samouraï showcases extensive surveillance-based actions that heighten the meticulous patience required for espionage, dedicating significant wordless moments to bug planting, bug discovery, and Costello's increasingly robotic and methodical evasion of authorities. This delivers both nail-biting tension and a godlike sense of objectivity for the audience. Each action is deliberately chosen, eliminating any distractions within the frame. Similarly to Fincher, who captivates audiences by making mundane moments gripping (think of the library scene in Se7en), Melville also avoids cutting out the so-called "boring stuff."
Another way to appreciate Melville's work is by comparing it to contemporary genre films. For instance, the 30-minute heist in Melville's Le Cercle Rouge, starring Delon, is a painstakingly methodical set piece devoid of dialogue and unfolds in real-time. On the other hand, the triple-casino heist in Ocean's 11 is filled with frenetic cuts and constant audience deception. Both are exceptional, but in Melville's film, we are intricately involved in every step of the criminals' journey, whereas in Steven Soderbergh's film, the criminals always stay one step ahead of us, despite our sympathy for them.
Character Comes First in Both ‘The Killer’ and ‘Le Samouraï’
While the mesmerizing long takes and character-driven cinematography of Le Samouraï are worthy of admiration, this police procedural attains greatness by delving into the inner world of its central character. The similarities between Michael Fassbender's portrayal and Delon's Costello go beyond mere style, as Fassbender also mirrors Costello's razor-sharp dedication to his job, even swapping his iconic fedora for a touristy bucket hat. According to Erik Messerschmidt, the cinematographer who won an Oscar for this film, Fassbender never once blinked on camera, capturing Fincher-esque perfectionism. The nameless protagonist played by Fassbender also practices yoga, reflecting the composed and serene nature of his ruthless profession.
Alain Delon, known as the original 'King of Cool,' proves his title extends far beyond Le Samouraï. Throughout the movie, Costello evades interrogation not just because of his acting talent, but because he meticulously covers his tracks. Whether it's strategically timing his exits to confirm his alibi or evading suspicion while being tailed, Costello is always focused on his mission. His professional life seamlessly merges with his personal life, as he walks confidently in a single direction.
In an Empire interview, Fassbender highlights the widespread comparisons to Le Samouraï and describes his character's unique mindset: "Everything is just a little off." Like Costello, his character solely shops at airports, disguising himself as a tourist to blend in and go unnoticed. Fassbender captures the essence of a solitary character who is always alert, committed, and disciplined. One scene in particular, where Costello returns to his drab apartment, provides insight into the life of this character. Unlike the extravagant decor of Diabolik's evil lair, Costello's apartment reflects the anguish and despair reminiscent of a Francis Bacon painting.
Costello's sole companion is a caged bird, which he keeps in the center of his home. He exhibits care for the bird by promptly feeding it after being injured. Although the significance of the bird is not fully explored, it could be seen as a means for Costello to alleviate his loneliness or as a living warning system against potential threats. It may also serve as a reflection of his own confined existence due to the moral complexities of his profession. Ultimately, the presence of the bird reveals Costello's humanity and suggests that, despite his lack of empathy towards his targets, he possesses a sentimental side.
Le Samouraï has had a profound impact on subsequent assassin films by offering a humanizing perspective on these characters, who are typically portrayed as villains or antiheroes. Whether it be in movies like Collateral, In Bruges, or Grosse Point Blank, Le Samouraï imbued hitmen and hitwomen with a soul that is susceptible to emotional vulnerability and eternal damnation. While it remains to be seen how David Fincher's latest film will be ranked among the genre's classics, the competition is formidable, making it an exceptionally difficult standard to surpass.
Le Samouraï is available to stream on Max in the U.S.
Editor's P/S
As a Gen Z netizen, I have a deep appreciation for the classic French crime movie "Le Samouraï" and its influence on modern cinema. The film's masterful camerawork, compelling characters, and existential themes have left a lasting impression on me. I find it particularly fascinating how director Jean Pierre-Melville manages to create a sense of tension and suspense through his use of long takes and minimal dialogue. The film's protagonist, Jef Costello, is a complex and enigmatic figure who embodies the solitary and stoic nature of the samurai. Alain Delon's portrayal of Costello is nuanced and captivating, bringing a sense of vulnerability and humanity to the character.
Overall, I believe that "Le Samouraï" is a timeless classic that continues to inspire and influence filmmakers to this day. Its impact on David Fincher's work is evident in his latest film, "The Killer," which pays homage to the film's camerawork and emphasis on compelling characters. I am excited to see how Fincher incorporates these elements into his own unique style and vision.
