Magnifique. Le Samouraï, considered one of the most celebrated French films from the nineteen sixties, and for good reason. Having recently seen it for the first time, I’m struggling to find something new to say about a film that has been analyzed, discussed, admired, and examined closely for nearly fifty years now. The story is straightforward: hitman Jef Costello (Alain Delon) carries out an assignment but is spotted while escaping, and he spends the rest of the movie trying to maintain his alibi. His employers want him eliminated so they won't be discovered, the lead detective on the case knows Jef committed the crime but can’t quite corner him, and Jef finds himself strangely drawn to a captivating piano player who happens to be the key witness against him! With very little dialogue, director Jean-Pierre Melville made an inspired choice because every line spoken carries weight. It also highlights the isolation at the center of the hitman's existence. Jef’s apartment is stark and impersonal; the only thing beautiful about it is a bird kept in a cage—the symbolism is hard to miss. Jef himself is handsome, but he seems emotionally detached as well. Wearing a trenchcoat and fedora (or perhaps it’s a trilby?), it's clear that Delon and Melville are paying tribute with great admiration to the American film noir classics of earlier eras. It’s remarkable that even though the movie was filmed in color, it still feels like one of those black-and-white noirs from the forties and fifties. The photography by Henri Decaë (of Ascenseur pour l'échafaud/Elevator to the Gallows) is appropriately cold for the story; the interiors lack vitality, and the outdoor scenes are almost always dark. And with Delon being as cool as can be, a detached demeanor is prevalent throughout. Le Samouraï has had a significant impact on filmmaking and deserves all of the praise it has received. The best part about it is that it seems even better upon subsequent viewings because the dreamlike quality fades away, revealing an understanding of what the director was doing, which leads to an appreciation for excellent film noir craftsmanship. It’s truly a noir finale as well. 9/10

Source on TMDB