🎦 Leon: The Professional full movie HD download (Luc Besson) - Crime, Drama, Thriller. 🎬
Leon: The Professional
Crime, Drama, Thriller
IMDB rating:
Luc Besson
Jean Reno as LΓ©on
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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1080p 1920x816 px 11895 Mb h264 12518 Kbps mkv Download
HQ DVD-rip 640x272 px 1395 Mb mpeg4 1255 Kbps avi Download
What makes it different from others?
I saw this film many years ago and as I remember I liked it, though it did seemed to me like anything special. It appeared to me like another action film about hit-man. I many times heard other people talking how great this film is and I couldn't understand how this movie is different from others. Now after few years I've watched it again, and now I realised it. Back then I was into action movies, so I've watched movies only to see some action, I didn't care much about a plot. This movie has some impressive action sequences, which were so beautifully filmed, that every minute of it was very enjoyable. But action isn't the most important thing about this film. What's important is an original story about unusual relationships between contract killer and a teenage girl. What else is good about this film is the colorfulness of it. Jean Reno was typical Jean Reno and that's good, he made a pretty original hit-man. Even more I liked Gary Oldman's performance, he always plays bad guys in movies so well, I think the movie would be much worse, if Stansfield was played by other guy.
It's a shame.
The downer about this film is finding out that Natalie Portman used to be an actress. What the heck happened? I didn't even recognize her as the same dis-engaged pretty face that she has become. Okay, do I really have to write ten lines about the film? I highly recommend it based on Portman's performance alone. Also, the interaction between her character Mathilda--a twelve-year-old--and Jean Reno's Leon is at once touching and horrifying, given the nature of the material. Is Leon criticizing Mathilda for talking to the boy in the street and her liberal use of profanity as a father-figure, or because he's training her to be the "professional cleaner" she wants to become. Portman really does steal the show, though. Her ease with delivering her lines, many quite profane and vulgar, is amazing. Entertaining without being vacuous, this is a fine movie.
Awesome movie
I remember watching this movie when i was young. It was one of those movies that I could watch everyday after school. The action was thrilling and I always wanted to be like Leon, a stone cold bad ass with a heart.

About 20 years after I first saw The Professional I watched it again and it was awesome. It was awesome not because of the nostalgic feeling but because it is a movie that has stood the test of time. Its formula is simple but yet captivating. This is not your typical action movie of a buff guy of a pretty action star that was the norm in the early 90's but the protagonist is someone that is unassuming that epitomises the term "silent killer". Gary Oldman gives a masterclass performance as the main antagonist and Natalie Portman gives a performance that makes one question is she was truly a teenager or if she was older. The plot is intriguing and the pacing keeps you engaged, the stunts are believable and the action sequences will put modern movies to shame. The music is incredible and the characters have depth and humanized.

Without giving out any spoilers this is a film that works in every perceivable way. An A+ for me
Most people misinterpret this movie, Leon was not a pedophile. He was a hit-man who obviously has no family and love for no one and he finally finds someone he can care for. It is not really sure how he loves her, but he wouldn't have sex with Matilda. He loves her like a Father would love his Daughter. This is one of the few well made emotional aspect movies that I can actually enjoy. It had everything a movie should have, slight humor, emotion, drama and action and most importantly, love. If you can't respect a well made film like this, then perhaps you shouldn't be on IMDb, trying to offer your two-cents on a movie you know nothing of.
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.
Still one of the more quotable, entertaining, touching and flat out enjoyable films I've ever seen.
Léon is pure film-making, outstanding just as it is hypnotic just as it is out and out entertaining. Known as The Professional to others, Luc Besson's debut English language film captures the essence of evil on screen just as it does the potential hope other individuals may carry amidst all the gloom and depression in one of cinema's favourite down and out cities: New York. Why Léon is such an unrecognised film is quite bewildering – IMDb has it grossing a modest $19 Million dollars but it won two awards and garnered a few other nominations. Everyone likes a hero and most people like a story where two people (usually of opposite genders) connect in certain times of hardship amidst a locale of no hope – at its core, Léon could be seen as exactly this.

The film is a tale of revenge, a love story and a crime drama complete with hit men, criminals, bent police men and innocent young girls caught up in the middle. The film presents to us how one event or one act of greed can act as a catalyst for bigger and nastier things, on a much larger scale than first intended and the film also brings a certain humane quality to worn out clichés and typical characters for the genre; like Tarantino and the Coen brothers at the height of their quality as seen in Pulp Fiction and Fargo respectively, this is Luc Besson stripping down the screen and delivering on a simplistic but immensely satisfying level.

The ingredients work in Léon. At its heart, a vulnerable hero in Mathilda (Portman) who is established to be living in a 'world' that is less than perfect but is a hero whose life is changed by an outside, unseen event and must then realise this as a trigger for not only her desire for revenge, but the propulsion into the real world in which she will learn the skills she needs and generally mature. The idea, or formula, is best presented in the training montage Léon (Reno) himself and Mathilda partake in to a popular Björk song – it is the classic case of passing time to a montage to signify maturity and learning.

But this is in no way a criticism as much as it is recognising and appreciating effectiveness. Mathilda's goal is to avenge the death of not her family as such, but her little brother who she deemed was innocent at merely eight or so years old. By this rational, her mother and sister were also innocent but Mathilda just doesn't appreciate them as much to avenge their deaths. The film's principal study begins with its hero on the verge of suicide, as a scene over the phone with a correctional institute tells us: Mathilda mimics her mother and tells the woman on the phone that Mathilda's death is the reason she hasn't been attending school. It is the low point of Mathilda's life and occurs just prior to the point of no return in which corrupt DEA officers blow away the rest of the family. The point of no return is signified beautifully as Mathilda walks past the wreckage of her apartment, gazing in slow motion, and rings the bell on Léon's door – the door opens and light fills the screen as she is accepted.

The film actually fills up a lot of its time prior to this with Léon himself, not necessarily tricking the audience as to who the film will be about, but informing us of the type of person that awaits Mathilda. Indeed, the opening scenes or indeed shots of the camera towering over Central Park and down a New York street presents to us the location of New York in all its grimy glory as we delve deep within the heart of the city, all the time the tracking shots getting closer to ground level and all the time getting nearer to its destination, a café run by a man named Tony (Aiello). The first we see of Léon are his round sunglasses, creating a physical barrier between us, the audience, and the identity of this man whom downs glasses of milk in no time and talks casually about killing people for money.

But the following scenes of Léon happy, enjoying himself and getting on with ironing and watering plants breaks off from stereotypical hit-man personas and gives us a different light. This leads to Léon's first encounter with Mathilda during which he tells her life is "always like this", this twinned with the fact we know she's potentially suicidal makes the audience uneasy. But, she seems jolly and happy when she goes to the store for Léon – she is out and about and doing something for someone else that she deems worthy of such attention, which will echo the understanding and the relationship they'll soon have. Incidentally, later on Tony's warning about change being 'a bad thing' and that Léon was in trouble before over a woman paints a potentially ominous picture.

The villain of the piece is Norman Stansfield (Oldman) who is a very intimate and aggressive character and Oldman plays him in a way that suggests someone who could go from green to red or from calm to sociopathic in a matter of seconds. The fact he tells one of his men to tell the police that "we were doing our job" hints that the sort of prior violent activity is not unfamiliar to Stansfield and co. further creating a dangerous opinion of the characters in our minds – they are not to be messed with. Léon is a tale of a young protagonist having to learn the hard way and still not really being up to scratch; it is a hybrid of crime, drama, romance and tragedy that spirals out of control but remains dramatic and heart wrenching all the same – Besson has made few English language films but there will always be Léon.
Where are the accolades?
This movie is rated 63 on the imdb top 250 movie list, showing that people obviously like this movie, and with good reason. But why the hell didn;t this movie garner at least one single oscar or golden globe nomination??

natalie portman's performance was terrific as the emotionally ravaged matildha - best actress nomination for sure.

jean reno should have been nominated for a best actor nomination. the fact that the audience is led to feel sympathy and sorrow for a hitman speaks words enough about his performance.

gary oldman is fantastic as the corrupt and psychotic cop. his character is so repulsive and chilling, but at the same time so quirky and interesting to watch. best supporting actor nomination.

luc besson. when this man will get some kudos for his work i never know. the professional, in my opinion, is his greatest achievement as a director and, considering the fact he has helmed classic cult films such as nikita and the fifth element, the professional must rate highly as one of the best films of the 90's atleast! best film and best director nominations should have been given.

but no, it was all too easy to heap praise on the feel good movie forrest gump, and shun the movie that, through its intensity and tragedy, better highlights the value of life and love.
How can I rate this unique movie less than a 10. Intelligent dialogues, strong emotional build-up, fast pace, absorbing atmosphere and a great soundtrack.

But Leon would be doomed without first class actors. All four main characters are perfectly cast and brilliantly played. Their presence dominates this movie, which by the way has nothing to do with an action flick, it is a masterfully crafted character study. Action is just the extra salt to the delicious cinematic plate Luc Besson is offering to us.

Natalie Portman requires a special praise. This is not only a stunning performance from a 12 year old girl, this is even not only a great performance from an accomplished actress, it is absolutely Oscar material and, judging from her next projects, easily her best role to date.

It is no coincidence that Luc Besson, Eric Serra and Jean Reno are French. They know how to go past the surface and make a movie with a feeling.
A masterpiece indeed.
One of the best movies of the 20th century!! very well acted and directed movie. My all time favorite actor Jean Reno does the best job of his movie career crossing all limits. This movie packs a punch. Introducing 12 yr old Natalie makes the plot more interesting especially when Leon has to look after Matilda and he reveals his sensitive side. Though I watched the US version (Leon the professional) which had many scenes cut, I later downloaded the unrated European version and found these scenes very quite crucial and enjoyed them a lot. Especially the ring trick and restaurant scene. Well made movie.!!! Good job. I would recommend it to all action movie lovers and sensitive audiences and everyone would love it.
"I take no pleasure in taking life..."
"...if it's from a person who doesn't care about it."

What really stands out for me (aside from the really excellent direction of the action sequences) is the too-brilliant for its own good script. Oldman,Reno, and Portman deliver lines that would seem goofy if spoken by lesser performers. Oldman especially chews the scenery in a way that's both amusing and utterly menacing. I wonder if his Beethoven obsession is a nod to the ultra-violent Alex from A Clockwork Orange?

The American version ("The Professional") was the first version I saw. I'd originally had no real intention of seeing it because I'd read a pretty savage review of it likening it to child pornography. Clearly this particular reviewer had his head firmly planted in his rear. I'm surprised he could find room what with that tremendous stick in the way. Anyway, once I finally saw "Leon" for myself - thanks to my cinemaphile grandfather - I observed no such thing. This wasn't smut, it was love. Leon has no interest in Matilda sexually, but loves her as a father would love a daughter.

If you have a choice then go for the longer director's cut. You get about 15 minutes more film - and not just filler. These are scenes that truly expand upon the story.

My only complaints are about the almost complete under use of the completely underrated Danny Aiello, and Oldman's single dimensional evilness.
See Also
πŸ“Ή Leon: The Professional full movie HD download 1994 - Jean Reno, Gary Oldman, Natalie Portman, Danny Aiello, Peter Appel, Willi One Blood, Don Creech, Keith A. Glascoe, Randolph Scott, Michael Badalucco, Ellen Greene, Elizabeth Regen, Carl J. Matusovich, Frank Senger, Lucius Wyatt Cherokee - France. πŸ“€