Review of Léon: The Professional (1994) by Damian S — 01 Sep 2012

Even now, all these years layer, this still holds up as a superior film, especially in the Extended Director's Cut. By combining action/adventure and white-knuckle tension with surprisingly poignant drama, top-notch character development and dark humor, The Professional achieves at a level to which precious few action films aspire, much less attain. The theatrical release was a solid thriller that was elevated by the touching central character relationship but there was still a sense that something was missing. As it turns out, there was indeed *plenty* missing; several scenes were cut after a rather unsuccessful test screening for American audiences who were uncomfortable with the sexual overtones in the main relationship - especially since it involved a 12-year-old girl (who's played here with astonishing ability by Natalie Portman in her acting debut). Not surprisingly, one of the scenes that were cut was a scene showing Mathilda (the aforementioned 12-year-old) and the title character, Leon (Jean Reno) sleeping (mind you, *not* having sex) together in a bed; another showed them having a drink in a restaurant after a successful hit. I honestly have no idea why any of this should be cut in the first place except that many Americans are extremely prudish and can't be bothered with anything that will take them even slightly out of their comfort zones (personally, I found the theatrical release to be more disturbing where the nature of their relationship was somewhat more ambiguous).

Thankfully, the missing content was restored first in a European Cut that was available only in select markets and then later in the Extended Director's Cut that was made available more widely (I actually picked up my copy at a local Walmart near my house, where I was surprised but thankful that it was available). The missing scenes restore a sense of balance to an already worthwhile production and in the process, they elevate this film to the level of a masterpiece. The main characters are given more depth and breadth, especially Leon, who was something of an enigma in the truncated version. Here, we get a better sense of what makes this man tick; plus, we're made privy to the tragedy that forced him to flee his home country and drove him to his current profession (things that were only hinted at in the theatrical version). Likewise, Mathilda's need for love and acceptance (as well as her desire to exact revenge on the men who killed her family) is given a greater sense of urgency. We come to better understand how these two individuals come to care about and depend upon one another. There were times during the theatrical edition when the development of their relationship seemed rush as a result of the excised material but here it feels as though we're taken through all of the ups-and-downs that occur with any sort of connection between two people, whether romantic or otherwise. This is basically an offbeat surrogate father/daughter (or, if you prefer, mentor-student) pairing with an understated sexual component (at least on her end; for his part, he sees her only as a daughter figure) and while this kind of bond isn't likely to exist in the real world, it's so brilliantly realized here within the context of the film that suspension of disbelief doesn't even become an issue.

While the Extended Cut definitely skews the film more towards drama, the pacing isn't seriously damaged. The action sequences still generate as much excitement and suspense as they ever have and the stakes are arguably higher now that we have a stronger emotional investment in the characters. The best of these set pieces remain the opening introductory sequence, where Leon methodically and handily wipes a bunch of men who armed to the teeth and the final, tragic last stand in his apartment against a bunch of law enforcement agents but there are enough smaller-scale skirmishes peppered throughout the film to keep restlessness at bay. With his previous effort, 1990's Nikita, which put him on the path to international stardom, writer/director Luc Besson proved that he was as capable as any American filmmaker of pumping the adrenaline and staging action in a way that is fresh and stylish while crafting a story that didn't run afoul of formulaic Hollywood conventions. With Leon, he was able not only to reinforce these impressions, but to take things to another level. This film was rightfully his breakthrough and it arguably remains the crown jewel on his resume.

The casting was a combination of American and foreign born actors and everyone plus his or her weight here. As I mentioned earlier on, Portman was making her acting debut here but you'd never be able to glean that from this performance. As Mathilda, Portman had the challenge of portraying a young girl who is wise beyond her years (as a result of her unfortunate exposure to the less savory side of life, courtesy of her drug-dealing deadbeat biological father) but still has the precociousness that only comes with youth. Like most young girls, she also craves the kind of love and attention that can only come from a stable influence in her life. It's a lot to ask of someone so young but Portman faces every challenge head-on and comes out unscathed. It's not hard to figure out why she soon found her talents in demand and still enjoys a healthy career today (and is now the proud owner of an Oscar).

Likewise, Jean Reno also has a difficult role to play but still manages to find the perfect pitch for his character. This is technically the second time that Reno played this character; we were first introduced to him in Nikita where he was named Victor and was far more ruthless. Here, even though he is still efficient as a killer, there is more humanity and warmth underneath the cold, icy shell this time around. In fact, Leon is really a gentle soul who loves his ever-present plant and enjoys old Hollywood musicals. Despite the nature of his profession, there is still a part of him that longs for human contact, which is why he opens his door to Mathilda in the first place, as she rightfully points out early on in the film. Like his younger costar, Reno buries himself in this role, which is no less complex and three-dimensional than that of his younger charge. As Stansfield, the crooked, Beethoven-loving DEA agent who has Mathilda's family executed, Gary Oldman is intentionally and wonderfully over-the-top in his villainy. There's no doubt that the actor goes off the rails with this portrayal but he still manages to be menacing without being laughable (although there is an element of dark comedy in his performance). Finally, as Leon's handler and the owner of an Italian restaurant/bar, Danny Aiello lends some veteran talent to the movie (if I had to pick a small flaw in this film, it's the rather stereotypical nature of this particular role but Aiello's acting is strong enough to deflect that criticism).

I could go on in my praise of this film but just reading my words wouldn't offer quite the same effect as going out to the store to rent - or better yet, buy - the DVD and experience it for yourself. In a way, The Professional offers the best of two worlds: fast-paced, adrenaline pumping film-making combined with a more thoughtful, dramatic European sensibility. Best of all, this film resists the urge to cop-out with a quick-and-easy Hollywood ending. The conclusion brings catharsis and closure to the story but it doesn't betray the sadness that lies at the core of the proceedings. The result is a masterpiece that retains its power even now after nearly two decades.