Leon The Professional Extended (1994) 1080p movie YIFY subtitles.

1. Leon The Professional 1080p Download

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 hitman. 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 neighbour. 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 neighbour. 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 characterisations, 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.

I have long thought that owning films on DVD or video is a waste of money - you watch them once and after that they are left to fester at the back of a cupboard. Occasionally I make an exception - some films simply cannot be fully appreciated on just one viewing.

Every time I watch Leon is as gripping and enjoyable as the first. Sad, funny, violent, incredibly touching - few films manage to tick all the boxes and even fewer are about hitmen. It obviously helps when your leading man has as much screen presence as Jean Reno. Thin and wiry with toilet brush hair and a face like a bag of spanners, he is hardly your typical gun-toting action hero, but he has an innocence and compassion that makes you fall for him instantly. Leon's life is as simple as a small child's: TV, lashings of milk and the odd gangland assassination.

He cannot read, he doesn't sleep, he hasn't the trappings of family or wealth (the fees for his hits are habitually trousered by his `benefactor': sleazy small-time Italian gangster Tony (Danny Aiello)) - In short, he lives like a robot. And then he meets Mathilda.

Normally I can't stand Hollywood kids. They are all doey-eyed, bouffant-haired brats who can cry on cue and are always ready with a cutesy, smart-alec comment that will cause their adult co-stars to tinkle with laughter or tousle their hair playfully. Often they are kidnapped and huge ransoms demanded while their parents go demented with worry. I for one am usually rooting for the kidnappers. Natalie Portman's Mathilda is the antithesis of these namby-pamby Dawson's Creek actors-in-waiting. For starters, she has something justifiable to gripe about, in that her entire family has just been slaughtered by Gary Oldman and his gang of crooked DEA officers.

This is a bit of a blow, to say the least, but Mathilda takes it all in her stride and teams up with Leon in a bid for revenge. So begins one of the stranger relationships in silver screen history, but one of the most memorable. On the face of it, a love story between a twelve year old girl and a hairy French hitman would raise a few eyebrows among more conservative movie-goers, but director Luc Besson handles it so beautifully, it seems like the most natural thing on earth.

They are united in being totally alone in the world - indeed, the scene where Mathilda walks quietly down the corridor past the carnage in her apartment and knocks on Leon's door, imploring him in a tearful whisper to let her in is as breathtaking as it is heartbreaking. Leon is wary at first, but she soon wins him round and starts to gently bring him out of the shell. Portman is truly astonishing - one can almost forgive her for being a part of the appalling Star Wars prequels on the strength of this one performance. The iconic image of this tiny, grubby little girl clutching Leon's beloved plant and trotting to keep up with her lanky hero's giant strides is one that will live long in the memory. Aiello and Oldman (at his sadistic, malevolent best) provide predictably excellent support, there is a wonderfully suspenseful yet satisfying ending - heck, there's even a decent Sting song playing over the credits - for this (if nothing else) it would be remiss of me to give Leon anything other than top marks. This film was absolutely amazing.

I have spent hours re-watching various scenes and noticing all the perfection with which they are acted and directed. It's not the violence or action sequences that make this movie so great (although they are well done.), but rather moments like where Mathilda knocks on Leon's door. It would be so easy to just film the door opening, but instead we see light illuminating Natalie Portman's face, symbolizing something angelic. And the moment has so much more meaning. I know a lot of people who have seen this film because they are action fans. But I'm glad I finally found it, because it's a wonderful film in so many other ways. Leon is one of the most emotionally intense movies ever made.

French director Luc Besson uses everything: actors, music, camera angles, lighting to create an unique experience - 'It's not realism, it's not naturalism - it's heightened reality' as Gary Oldman very well put it. In 'The making of The Professional' Besson says 'If I imagine somebody in the street try to knock on my daughter, I kill the guy, in five seconds.

I kill him, and I think 'It's in me, I'm a beast!' On this part we can't forget that a part of us, the genetic things inside are much, much older than The Ten Commandments'.

He certainly uses visceral scenes to create very strong emotion in the movie - the blood running from Mathilda's nose or Stansfield's unforgettable 'EVERYONE!' Are just a couple of examples. The music and the sound are excellent and are used in a masterly fashion - you can hear Fatman's heart beating desperately or a low claustrophobic sound when Stansfield turns to look at Mathilda's father. However Leon does not work only on this primary level, it also has an intelligent story. It may seem to be almost a fairy-tale, but don't be fooled - just like his character Besson is serious. This movie has a message: without love we are dead, even if we don't see it.

Only true love give meaning to our lives: 'everything else reminds me a big yogurt: warm and rancid' as Mathilda says in the original script, which is available on the net under the name Leon Version 1. Is this true in 'real life'? I don't know but this movie can make you wonder.

Then of course there's the sensuality. It's hypocritical to deny it, the camera interacts with Mathilda in a mesmerising fashion. It's not sick and it's not degrading: it's art, subtle and beautiful. Leon is not perfect but it has so many great moments that all its flaws can be forgiven.

It's a movie that really should not be missed, unless you are concerned with its amorality. And don't be - Leon is less violent than many action movies and the unusual relationship between the main characters is handled mostly with genuine feeling and tact. With enough blood and gore to please any fan of action movies, and a unique love story to please the ladies, this is a great movie for couples to watch together. However, to truly comprehend the beauty of this film, you must see the European Cut. Version is still a great movie, but it cuts out 24 minutes which contain much of the heart of the movie and most of what makes the film a work of art instead of the usual action fodder. Elements of the story which are only hinted at in the U.S.

Cut become the centerpiece of the story when the un-cut version is seen. The two main characters are a recently-orphaned girl who is wise beyond her years and a hitman who is still an innocent. Their relationship unfolds against a backdrop of murder and revenge as director Luc Besson explores issues of age and maturity, good and evil, and the interplay of life, death and love.

The acting in this film is superb. Reno has an expressive face which conveys a myriad of emotions with great sensitivity and few words. He is cold as ice as the almost super-human 'professional', but his performance is most moving when he reveals his sensitive side. Watching as his wounded soul slowly begins to heal is enough to touch the heart of any woman, but it is handled so subtly that it never becomes too 'sappy'. In her film debut, Natalie Portman turns in a performance that is beautiful beyond belief. She manages the transition from a frightened child to a woman capable of killing so convincingly that it makes the relationship between she and Leon not only believable, but understandable. Gary Oldman is just the best psycho there is, and it is kind of nice to see him without all the strange makeup for a change.

As a dirty cop in this film he personifies evil, and it is a joy to watch him do his thing. The special effects are all you could hope for. Besson does great actions scenes - especially the explosions.

There is also a lot of humor and when you throw in the tender love story - this picture has it all! 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. 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.

Luc Besson's 'The Professional' is sort of a companion piece to his international breakthrough hit 'La Femme Nikiti', and in many ways it's an even better film. It raises the stakes of Besson's playful women-with-guns theme by making the heroine a 12-year-old, played by a then unknown Natalie Portman. Jean Reno is excellent as her assassin trainer and surrogate father. Oldman is completely over the top in one of his best bad-guy roles, obsessed with both Beethoven and butchery. As a gritty, suspenseful thriller, this film won't leave action fans feeling cheated, but the film is so much more than that.

At the center of 'The Professional' is a wonderful father and daughter-like relationship between two damaged strangers who find solace in each other. This film, better known in the U.S. As 'The Professional', is a wonderful and intense film. Jean Reno plays his role as a 'cleaner' with incredible subtlety. Leon tries to keep his emotions completely suppressed, yet Matilda (in an extraordinary performance by a young Natalie Portman, who is destined to become a very powerful actress into her adult life) bring out in him a new-found joy for life that accompanies his growing paternal instincts. But, the most dynamic element of this film is undeniably Gary Oldman's performance as a wildly sadistic and crooked DEA agent with his own narcotic-induced demons. His obsessions eventually lead him to the brink of absolute madness in his hunt for the cleaner.

Truly, this is Oldman's finest performance to date, worthy of Oscar glory, though sadly forgotten. And so, Luc Besson did indeed top his triumph of 'La Femme Nikita' by far with this masterpiece. Though, I cannot exactly praise his most recent effort with the sci-fi misfire, 'The Fifth Element.'

Luc besson will never top this movie. This is his benchmark, his classical composition. Look at the precise, intricate scenes.

It's a symphony in cinema. Straight off, it's action. Intelligently shot, and scripted. It makes everything that follows hard to live upto. But it does so easily. It's stylish without being showy, it's deep without being sentimental.

And it's just hugely enjoyable. Seeing the friendship between newly orphaned mathilda and skilled assasin leon bloom, is tenderly done. At risk of slipping into a sappy bond, besson keeps it easy on the emotions, without coming off as shallow. The actors are all spot on, most notably the debut from a young natalie portman as mathilda. Showing an angry, sad, pent up, in love girl is no simple task but she breezes through it, touching all the right notes.

And jean reno as the title character, is minimal but very effecting. Hard to understand, but easy to relate too. But gary oldman steals it, with his glorious overacting.

He's as scary as he is determind. His line delivery is almost perfect. And his fate is very fitting. If only they made more intelligent action movies, then they could contend with this film.

Leon The Professional 1080p Download

But as it stands right now, leon is one of the best action dramas ever made. '.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.

I saw this movie in the theatre in 1994 and I really like it then, but at the time I wouldnt be able to tell you why. The next time I saw the movie was at home on TIVO, in December 2001 and I fell in love with the film all over again. Firstly, the theme of the movie - Isolation and Redemption - The characters Leon and Mathilda had no one who loved them in this world and were very much alone (mathilda did have her 4 year old brother but that was all she had)The characters were dealing with a similar lonlieness even thought heir worlds were very different. Secondly, the scripting in the film really hit me. When a bloodied, beaten Mathilda turns to Leon after meeting him only once or twice, she says to him 'Is life always this hard or just when your a kid?' Leon pauses and his response to her was not what anyone would expect. The whole movie is well scripted and blows me away.

Thirdly, The cinematography is top notch. When Mathilda arrives at Leons door and she pleads to enter and when the door opens bathing her in light is simply breathtaking. The close-ups on the characters and the way the camera is held over their shoulder as they talk with each other really gives it a personal feel to allow you to empathise with the characters. I could go on about the cinematography more but I have more. Fourth, the music by Eric Serra. I really enjoyed the music more and more with each viewing as I came to realize that the soundtrack was orchestrated specifically after each scene was filmed and then the music was designed to match what was happening on screen.

Sometimes, I watch the movie and just pay close attention to the details in the music. It creates a whole new perspective. Fifth, the acting and the casting. Jean Reno plays Leon so perfectly. You really can sense what the character is about. The soft spoken hitman who is like a child in many ways but extremely skilled at his job. Natalie Portman plays the street wise Mathilda who has to pull off one hell of a performance.

Many say it is her best role and I agree. Much of the acting by both of these characters is done with simple facial expression.

The dialogue between these two leaves you wanting to see more. Danny Aiello as Tony.

Gotta love Tony. Is he a good guy or a bad guy? Its open to debate and thats the way it is intended. Gary Oldman as Stansfield - The bad cop - what can you say?

He plays the role over the top and is perfect and nuts. Sixth, Luc Besson, director, writer and visionary who saw the potential of this film and went for it.

How could anyone expect a movie that has a hitman who protects a twelve year old girl who falls in love with him and wants to be trained as an assassin to be a great film? Realized the dre am and brought the right people on board to make this very special film. I am amazed that it even came to be. He rested 50% of the acting chores on a 12 yr.

Old girl with no acting lessons or experience - his film depended on her and he was a little worried, no doubt. But he showed her what he needed from her and she gave everything she had.

And it shows. All I can say is this movie is like a song that I never grow tired off. I know there are others who fell the same way. Feel free to email me and join the Leon fan club on yahoo. 10 out of 10, of course. When I first watched this film at the cinema, I wasn't aware of IMDb.

I've since watched it probably 4 or 5 times, and have recently bought the Directors Cut. Having used IMDb a lot recently, I checked out Leon. It was kind of heart warming, having a great deal of my memories of this movie from the previous 15 years being revisited upon me so eloquently whilst reading the comments. It is a glorious film.

One that I've not been able to forget for all the best reasons. I think you could probably choose any sub category art that forms a movie i.e., editing or cinematography, and you'd be hard pushed to find fault. What makes this film Extra Special however, is the emotional 'ballet' taking place throughout the film. My emotions were pretty much assaulted by a gang of joy/sadness/hate/fearful anticipation/love/empathy/shock/horror/hope.

It's one of those films. I adored/respected/loved Leon (I still watch nearly every film with Jean Reno in). I fell in love with Matilda. I've watched everyone of Natalie Portman's films since too. I was already a fan of Gary Oldman. This film just added extra glue to that bond. He made a brilliant sociopath, in direct contrast to Leon's (anti-)sociopath.

I occasionally feel for a character (or two if it's a great romance), but it's very rare for me to be drawn into three so very different people's intimate lives so easily. It's a shame there are too few films of this calibre. On IMDb's list of top 250 movies Leon is currently number 47, and my number one.

There may be movies produced with a bigger budget, more special effects, and 'big named' actors (read overpriced scientologists) but Luc Besson created his muse and my passion with this movie. This is by far my most favorite movie of all time. In the past I would simply rattle off movies 'in my top 10' because I couldn't pick favorites. Leon has finally broken my cowardice and made me choose. It just works for me. Natalie Portman is amazing. I have honestly fallen for her over and over again since I first saw this movie.

Jean Reno and her fulfilled their roles so well. I loved the way their connection was so unconventional but pure.

Love is love. It doesn't apologize, it doesn't follow a mold and it doesn't have to. Damn, I think I'm going to go watch it again right now. I watched this film on DVD that I borrowed from my friend, who recommended it after I asked him for some refreshing thriller, but I ended up getting something more than that. It's just brilliant in every aspect - from casting to call, and from beginning to end, without a little distraction in between. Luc Besson has done a good job, and Gary Oldman! Why didn't he win an Oscar for this role?

Jean Reno did a terrific acting and so did the young Natalie. What starts off as an introduction to the 'cleaner' takes a whole new direction as the girl meets our Hit-man. Then comes Norman, the bad-ass cop, for a drug related issue with the girl's father. A murderous scene that sets in so naturally that I felt I was in that room.

The girl is fortunately safe and credit goes to her mother who sent her to the grocery and Leon who allows her inside after she seeks help witnessing the aftermath. Later on I thought the story between Leon and Mathalda would go somewhat like Terminator-Judgement Day. But there was something even more special. Leon is losing his murderous instinct bit by bit as he grows into a 'Caretaker' and Mathalda loses her craze for killing and adulthood again a bit by bit. The way the climax has been written and presented, boy!

200 cops on one man, and still they struggle to take him out until he finally sacrifices his life to save the pretty girl. Every thing in the middle, that I've left out is something that I can only feel from the experience of watching this movie. Natalie Portman is now a huge star, and she deserves her stardom and acclaim after having acted like this in her very first film, and remember its no small film. It's a type of movie that I get to watch on rare occasions. Something that remains stuck in my mind after days of watching!

First of all, I emphasize once again that the long version not released theatrically in the United States, known as Leon (as opposed to The Professional) is a much stronger film. Story with soul. Great chemistry between the leads. Characters you really care about. Carefully crafted action.

Artistic cinematography. Rhythmic editing. Luc Besson and his crew really hit the sweet spot with this movie. 10/10 Anyways, most other reviewers have covered almost all the strengths of this wonderful movie, so there is really nothing I can add here except a reviewer-neglected element: the music.

There are two pieces, one by Bjork and another by Sting for the credits that are really really good. All other music is composed by Eric Serra as far as I know. Eric Serra is known for collaborating with Luc Besson, and here for Leon he puts out one of his best scores. It is well written, and very well edited together into the film. Turn off the music, and you will see how much tension it serves up in scenes like the slaughter/'please open the door!' When the slick hair goon turns toward Leon's apartment suspecting Mathilda just went in there, the music reflects his escalating threat.

The soundtrack also features well crafted sound effects that go along very well with the footage - it is not just music in the traditional sense. The character themes, Mathilda's Tony's Leon's really fit the Wagnerian ideal of using music to define a character. Leon the cleaner's theme is especially moving, yearning frustration loneliness despair. This is one of the most memorable character themes, up there with classics such as Darth Vader's Imperial March. You see Leon the cleaner, you hear the music.

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You hear the music, you feel Leon the cleaner. The music that is used during the montage scenes (e.g. The gum trick and hitting clients to rhythmic electronica) works great. Enough reading my lame comments, if you have not done so, go and see this movie! This is a movie difficult to classify in any genre - which is a big part of what makes it a seemingly timeless classic. Other reviews have described in detail the essentials of the plot, and the chemistry between the actors, so I will not go over such things in any detail.

Rather, I will concentrate on my impressions while watching this movie for the first time - which I did just the other week. For years, I had been vaguely aware of this film, but I never bothered to check it out. The reason was that I assumed that it was basically a 'mob movie' about a hit-man - a genre I'm not particularly interested in. Which, in once sense, it is. However, it is much more than that, as I discovered when I finally got around to seeing it. When I started watching this movie, at first I found my impressions confirmed, as it opens with an apparently unstoppable mob assassin 'hitting' a group of drug dealing mooks. This opening scene was interesting in that the viewer never sees the killer directly - only in hints.

This adds to the sense he's like a shadow or a ghost, an unstoppable force. However, the viewer soon discovers he's very much a human - and a sad, lonely one at that, living a marginal life in a slum with only his plant for company. At the same time, the viewer is introduced to Mathilda, the young neighbor girl who lives next door - who also lives a sad, lonely and miserable life. Soon, the unstoppable assassin saves the young girl from the hit squad of drug-dealing cops- and that's when the movie changes.

From a more typical mob shooter into something very like a (very) dark romantic comedy/drama. This I was not expecting. I was sort of expecting that the hit man would protect the girl, who would be more of a non-entity - a 'MacGuffin' if you will (a joke they employ in the movie itself - at one point, she registers them in a hotel under the name 'MacGuffin'). As a viewer, I watched the unfolding sexual tension between the girl and the killer with uneasiness and dismay.

Which appears to have been exactly the point the film-maker was making. The viewer is kept uneasy, not knowing exactly where this relationship is going - just how transgressive it is going to be. Is Mathilda actually 'in love' with Leon?

Is this 'love' returned? Or is Mathilda just manipulating Leon to convince him to help her carry out her revenge? The answer appears to be a bit of 'yes' to all the above - though Leon displays no sexual interest in Mathilda, he clearly grows to 'love' her (in the sense of wanting what is best for her, even above his own self-interest). Mathilda, on her part, is certainly not above lying and manipulation in order to get what she wants. While she expresses her love for him repeatedly, to the point of outright propositioning him for sex, it is pretty clear that this sexual aggressiveness is the result of her abusive upbringing and her desire for adulthood - to her, it would seem, 'love' means 'sexual love' only, as she has never seen any other kind (other than 'cuddling' with her baby brother). She both needs Leon (to carry out her revenge) and 'loves' Leon (the only adult who has ever been kind to her). In that context, her declarations are both an attempt to bind Leon to her, a sort of manipulation, and the only expression of an 'adult' type love she can understand.

The point is that this is a surprisingly deep and sensitive exploration of a relationship, and nothing like what one would expect from a typical action movie. For me at least, this raises the movie to the level of a classic.