Le Samouraï
Seiten
2026
BFI Publishing (Verlag)
978-1-83902-963-9 (ISBN)
BFI Publishing (Verlag)
978-1-83902-963-9 (ISBN)
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A study of Jean-Pierre Melville's 1967 neo-noir crime drama Le Samouraï in the BFI Film Classics series.
In this compelling study, Daisuke Miyao explores Jean-Pierre Melville's cult 1967 thriller Le Samouraï, a film that unfolds in a coolly stylised Paris where the paths of a contract killer, Jef Costello (Alain Delon), and the police commissaire pursuing him (François Périer) fatally intersect.
Despite its title, Le Samouraï, is not a sword-clashing tale of feudal Japan. Rather, Miyao suggests that the film's philosophical framework draws on both existentialism and the samurai moral philosophy of bushido, or 'the way of the warrior', and considers how these philosophies may help explain Jef Costello's identity crisis and his concluding act of self-annihilation. In a close analysis of Melville's technical and aesthetic decisions, Miyao highlights the film's use of close-ups to convey or mask emotion, the play of light and shadow, and the function of flashbacks and dream sequences in the narrative, as well as the meanings of Costello's pet bullfinch.
Setting Le Samouraï within the shifting landscape of post-war French cinema, Miyao traces its dialogue with Hollywood film noir and Japanese art cinema, particularly Kurosawa's Rashomon (1950), suggesting that both genres informed and influenced Melville's film-making.
Finally, Miyao discusses the film’s enduring legacy, from Jim Jarmusch’s Ghost Dog: The Way of the Samurai (1999) to Yoko M.’s 2020 novella Jef, a prequel to the film.
In this compelling study, Daisuke Miyao explores Jean-Pierre Melville's cult 1967 thriller Le Samouraï, a film that unfolds in a coolly stylised Paris where the paths of a contract killer, Jef Costello (Alain Delon), and the police commissaire pursuing him (François Périer) fatally intersect.
Despite its title, Le Samouraï, is not a sword-clashing tale of feudal Japan. Rather, Miyao suggests that the film's philosophical framework draws on both existentialism and the samurai moral philosophy of bushido, or 'the way of the warrior', and considers how these philosophies may help explain Jef Costello's identity crisis and his concluding act of self-annihilation. In a close analysis of Melville's technical and aesthetic decisions, Miyao highlights the film's use of close-ups to convey or mask emotion, the play of light and shadow, and the function of flashbacks and dream sequences in the narrative, as well as the meanings of Costello's pet bullfinch.
Setting Le Samouraï within the shifting landscape of post-war French cinema, Miyao traces its dialogue with Hollywood film noir and Japanese art cinema, particularly Kurosawa's Rashomon (1950), suggesting that both genres informed and influenced Melville's film-making.
Finally, Miyao discusses the film’s enduring legacy, from Jim Jarmusch’s Ghost Dog: The Way of the Samurai (1999) to Yoko M.’s 2020 novella Jef, a prequel to the film.
Daisuke Miyao is Professor and Hajime Mori Chair of the Literature Department at University of California, San Diego, and the author of Japonisme and the Birth of Cinema (2020), Cinema Is a Cat: A Cat Lover’s Introduction to Film Studies (2019), The Aesthetics of Shadow: Lighting and Japanese Cinema (2013), and Sessue Hayakawa: Silent Cinema and Transnational Stardom (2007).
Introduction
1. Vertigo: Ethics of Camera Movements
2. Shadow of a Doubt: The Aesthetics of Lighting
3. The Birds, the Cats, and Film Noir
4. Body Double: The Mirror and the Close-up
5. Zen Showed Melville the Way
Conclusion
Notes
Credits
Bibliography
| Erscheint lt. Verlag | 11.6.2026 |
|---|---|
| Reihe/Serie | BFI Film Classics |
| Zusatzinfo | 60 colour illus |
| Sprache | englisch |
| Maße | 135 x 190 mm |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Sozialwissenschaften ► Kommunikation / Medien ► Medienwissenschaft | |
| ISBN-10 | 1-83902-963-3 / 1839029633 |
| ISBN-13 | 978-1-83902-963-9 / 9781839029639 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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