Melville's hombres don't talk a lot, they just move in and out of the shadows, their trenchcoats lined with guilt and their hats hiding their eyes. This is a great movie, an austere masterpiece, with Delon as a cold, enigmatic contract killer who lives by a personal code of bushido. Essentially, the plot is about an alibi, yet Melville turns this into a mythical revenge story, with Cathy Rosier as Delon's black, piano-playing nemesis who might just as easily have stepped from the pages of Cocteau or Sophocles as Vogue. Similarly, if Delon is Death, Périer's cop is a date with Destiny. Melville's film had a major influence in Hollywood: Delon lying on his bed is echoed in Taxi Driver, and Paul Schrader might have remade Le Samourai as American Gigolo. Another remake is The Driver, despite Walter Hill's insistence that he'd never seen it: someone on that movie had to have seen it.