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John Woo’s The Killer$
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Kenneth E. Hall

Print publication date: 2009

Print ISBN-13: 9789622099562

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622099562.001.0001

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Jean-Pierre Melville and Woo

Jean-Pierre Melville and Woo

(p.44) (p.45) 4 Jean-Pierre Melville and Woo
John Woo’s The Killer

Kenneth E. Hall

Hong Kong University Press

Like John Woo, French director Jean-Pierre Melville has often been considered an unorthodox force in his native cinema. A man of unusual life experience, including membership in the Resistance during World War II, Melville funneled his autobiography into his filmmaking. The most important of Melville's policies to a discussion of his influence on, and artistic kinship with and differences from, John Woo and The Killer, are Le Doulos (1962), Le Deuxième Souffle (1966), Le Samouraï (1967), and Le Cercle rouge (1970). They share with the Woo film personalist concentration on the underworld, including the police, and feature unhappy denouements for their gangster anti-heroes. What Woo did not inherit from Melville is the cynical world-weariness and gray exposition that pervade much of the Frenchman's work.

Keywords:   Paris, Jon Woo, Hong Kong, The Killer, gangster heroes, Le Samouraï

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