🎦 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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Excellent film. Natalie Portman is superb.
'Léon' is a classic.

The plot is gripping and dramatic, keeps you on edge.

It starts off with the brutal killings of Mathilda's family but she isn't there at the time so avoids it. She comes back while the bad guys are still there and knocks on Léon's door hoping for help. This scene could have been so simple with the door just opening, but I loved how emotional this bit was. This is where I really started to feel for the characters as we saw through the spy hole tears running down Natalie Portman's face. This is where the film really starts as the two plot revenge together. The character development in this one is just great.

The action scenes are just fantastic and so fast paced. The acting is excellent (How Natalie Portman didn't win any awards for her role as Mathilda I don't know).

It's hard to go into more details without potentially spoiling this one, just be sure to watch it. You won't be disappointed. If you like a film with good character development, fast paced action and a film that grabs your complete attention, this is for you.

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.
Masterpiece of violent Characterisations and fast action-shooting
An interview with Anne Parillaud, in the Evening Standard, 24.8.90, it was said that the message of Nikita is not one of violence but the idea is that people who are full of despair and missing love are not alone.

This idea continues in Léon. Léon was Besson's first foray into international film production. The similarities, or parallels, between Nikita and Léon are undoubted. Both the central protagonists attempt to come to terms with their dysfunctionality, to society, against a background of violence, which they both continue to act upon as the agent of someone else. There is no clean difference (we may also include Le Dernier Combat for comparison.) The only difference is gender.

I always found that until obtaining the "Version Integral" there was a character hole in the plot. The original cut released for US audiences was felt, by Besson, had an "offending" scene cut which ruined later scenes. The American test audiences hated it, seeing it as perverse and paedophiliac. The film was still panned by US critics as quasi-child pornography on general release. What it to be understood about this film, and this is what infuriated Besson, is that the film is about pure love. Not sex, which is all the Americans, could see.

And so we have ascertained that the characters in Besson's films are, simply, great. Then there is the action which is all the grace and style of Nikita. Typical of Besson's style with fast action-shooting and violent characterisation. This has to be one of Jean Reno's and by far Natalie Portman's best screen performance. To me, Gary Oldman plays his part to the tee, said by some magazines to be the best screen bad guy - it is one of his best performances.

Stylisation and excess are hallmarks of Besson's work. Characters are larger than life. Décors are in excess of realism. Besson's characters lack psychological depth. "The sumptuous and the ornate cohabit with the violent or the vulgar." Besson's use of excess is also extremely playful mixing violence with humour. Besson's work appeals to the tastes of popular culture and may not please that of the elite - arguably a reason for the rejection of his work by many intellectual film journals.

I have yet to hear of a person putting a bad word against this film. There is nothing I can personally fault so I give this film 10/10, a score only two other somewhat different films hold in my IMDb list of 345 films - "The Wizard of Oz" and "La Cité des Enfants perdu". If you like French Cinema or consider yourself a cinephile you must see the latter.

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.
Leon (Jean Reno) is a tortured soul. He lives in squalor and misery, never truly happy or at peace with himself. After all, he is a hit- man. He lives quietly from kill to kill, harming no-one whom he has not been paid to assassinate. He is a simplistic, childlike man who lives by his own set of morals but is troubled by them. The one thing he seems to fear above all else is change.

Mathilda (Natalie Portman) is Leon's neighbor. A young girl, she lives with her father, step-mother, half-sister and half-brother. As unhappy as Leon, she lives in awe of the dark stranger, unaware of his true profession. Beaten by her parents and sister, she has abandoned school and instead spends the day watching cartoons and trying to escape from the real world.

When Mathilda's family is brutally murdered by a drug crazed Norman Stansfield (Gary Oldman), her only chance for survival is to hide with her neighbor. When she learns of Leon's true identity, she becomes infatuated with both him, and the grim world he inhabits.

This stark portrayal of humanity and inhumanity is produced with the style and finesse that one expects from Luc Besson. In addition, the combined talents of Jean Reno, Natalie Portman and Gary Oldman provide not only an unmatched on-screen chemistry, but also three perfectly created characterizations, the like of which are rarely seen in today's cinema. This film has my personal recommendation of being the best piece of cinema that I know of. I have not seen anything that matches it in terms of intensity or emotion - and believe me, I've looked. I found myself caring for the characters involved, an unique experience in itself. This is not the type of film for a night in with your mates, but nevertheless, it is an unforgettable piece of cinematic history
Violent and touching at the same time--a beautiful stylized gem
Leon the Professional (1994)

A tightly wrought, ironically charming (and no so ironically violet) caper about an accomplished assassin and a sweet girl. The assassin Leon is played with dry, raspy wit by Jean Reno. He's one of those guys who's "the best" without question, and who lives off the radar naturally. All he has is a suitcase and a potted plant in his small apartment. The girl, Mathilda, is played with a perfect combination of innocence and worldly savvy by Natalie Portman. When her family is wiped out by gangsters, she is taken in by the assassin, who happens to live next door.

The bad guys are led by Gary Oldman, who is a caricature of an evil thug gangleader. And behind the scenes in the middle of all his is the inimitable Danny Aiello in a small but important role. All of this weirdly makes sense, and the plot moves along with our growing concern for Mathilda, above all. And then for Leon, by extension.

So whether you call this a buddy movie or an over-the-top farce, it's so well connected, smoothly filmed, and forcefully acted it just feels and looks right. It's just superbly made.

Director and writer Luc Besson is a marvel, really, and anyone who has seen "La Femme Nikita" or "Fifth Element" knows that he can show imagination and style with edgy contemporary punch. He's the main example of the so-called "cinema du look" style of French movies, a kind of counter-balance in self-aware movie-making to Quentin Tarantino's more artificial style. Besson is essentially a writer first and director second, and he wrote all of these as well as the "Taken" movies that have recently been so successful both in France and here.

If some bloody violence doesn't put you off, add this to your must-see list.
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.
A Personal Best for Both Besson and Reno
Perhaps Luc Besson will one day make another truly great film. Perhaps Reno will once again garner better roles than a French DOI officer battling a giant lizard in New York. But it doesn't matter if they don't.

By pairing for this masterful movie the two have produced a film which will definitely live on throughout history long after all of the riff-raff-flicks are lost and forgotten. This film is definitely deserving of a place in the top 50 films of all time.

Outstanding performances burn up this stellar flick. If you don't know the show's storyline, here's the short-short version. An immigrant hit-man (Reno) becomes responsible for, and eventually falls in love with a young girl, Mathilda (played marvelously by Natalie Portman) whose family was murdered by a dirty DEA agent (the always superb Gary Oldman) and his team. Our heroic hit-man must protect the girl and avenge her family's death.

More than just a compelling action drama, the film focuses its attention on the truth of humanity that people are social creatures and need companionship. While at first Leon is cold and commanding towards his young charge, he eventually warms to her more than he wants to admit to himself. When Mathilda's desire for vengeance places her in harms way, Leon's true feelings burst forth in a hail of bullets and bloodshed that would make the Terminator think twice about messing with this man.

The story is solid. The dialogue is honest and pointed. The action is spectacular. And overall, the direction is undoubtedly Besson's best. This film ranks exceptionally high on my All-Time Must-See list.
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.
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“€