I've heard it said that thrillers are among the toughest types of films to do well and one of the easiest to mess up. I don't think that this could be anymore true. Most thrillers, especially many of the recent ones, are typically formulaic and offer nothing for the audience to chew on. They certainly provide a rush, but they don't do much more. Action-oriented films are among the worst in this regard. Often-times, even the action sequences are so ordinary that they're boring. Thankfully there are many films out there that buck the trend. LEON (know in America as THE PROFESSIONAL), Luc Besson's 1994 international breakthrough is part of this illustrious group. It not only provides some superbly crafted action sequences but some very effective drama and a flavorful undercurrent of dark comedy. The result is a wholly satisfying cinematic experience.
12-year-old Mathilda (Natalie Portman) comes from a family with more baggage and dysfunction than normal. Her father (Michael Badalucco) deals drugs and her mother (Ellen Greene) doesn't do anything more substantial. Her older sister (Elizabeth Regen) delights in pounding on Mathilda. She also gets abuse from her father and mother as well. About the only person in her family that matters is her younger brother (Carl J. Matusovich). When she's not doing chores for her family, she enjoys smoking cigarettes in her New York City apartment in order to get by. One day, while she's lucky enough to be away, a dirty cop named Stan (played with gusto by Gary Oldman) breaks into Mathilda's apartment with some goons and kills everyone. This wouldn't mean anything to Mathilda except that they killed her brother...
Enter Leon, a laconic, lonely hit-man who is one of New York's finest. He likes to refer to himself as a "cleaner". He has long since repressed any emotional ties to anyone or anything except for his ever-present plant. He also happens to be Mathilda's next door neighbor. He very reluctantly takes her in when her family is slaughtered. But she simply doesn't want shelter- she wants revenge. Upon figuring out Leon's profession, she insists on learning the tricks of his trade. In exchange, she'll clean (in the traditional sense) for him and teach him to read...
The best thing about LEON is easily the interaction between its two protagonists. There is clearly chemistry between Leon and Mathilda, which makes the emotions expressed and the works spoken between the two of them seem believable, even if the relationship isn't likely to exist between them in real life. Much has been made over the years of the sexual undertones in their relationship as it is depicted. This aspect is very low-key at best. Their's is more of a father-daughter/mentor-student bond- a brilliantly realized one, no less. There is a wonderful montage of Leon and Mathilda developing in their relationship while Bjork's VENUS AS A BOY is playing in the background. It's to Besson credit that he could weave this much character development and unforced drama so seamlessly into the fabric of an action/revenge flick.
Acting is another one of LEON's strong suits. For Natalie Portman, this was her debut performance and it showed much promised for her right from the word go. By combining youthful exuberance with world-weariness, she makes Mathilda real in a way that many veteran actors can't grasp. As the title character, Jean Reno is also very impressive. His character undergoes the most change throughout the film and Reno is there with him almost every step of the way. There are times when he's a little stiff- particularly when he has to be more emotionally attached to Mathilda. Overall, however, his quirky, deadpan style of acting serves him well. He also provides some great comic relief, particularly when he tries to imitate a few legendary figures. As expected, Gary Oldman can be counted on to give a memorable performance. His villain is gleefully over-the-top and some of his mannerisms add some more dark humor to the proceedings. As Leon's mentor, Danny Aiello has a supporting role.
The action sequences in the film are quite masterful. The best ones are the opening and closing sequences. There are a few skirmishes throughout the film, but these two set pieces are the most skillful. Besson peppers everything with a wonderful European flavor, giving the film style as well as substance. Best of all, it doesn't buckle under the pressure to cheat the audience with a cop-out Hollywood ending, opting instead for one that preserves the emotional impact of the storyline. With it's combination of pathos, violence, action and humor, LEON deserves recognition not only as an excellent thriller, but as an excellent all-around film.
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