Review of Le Samouraï (1967) by Masorad ( — 20 May 2010

Delon between a rock and a hard place, with a keyring, wardrobe from a 40s Warner's noir, and singularity-of-purpose. The film moves like clockwork: the police procedural, the timing and executing of hits, the reductive view of Paris, the movements of a bird in a cage.

Melville's genius is that he removes the hands from the clock.