Not to be confused with Leon: The Professional, this film stars Jean-Paul Belmundo as Josselin Beaumont, a hitman betrayed by his own government. At times, Beaumont almost seems to be framed as the French Rambo, which is rather silly considering that Belmundo was, by this point, 48 years old. Worse, the film itself is meandering, dull and repulsively sexist.
The film has a few interesting aspects that are not well followed-through. The plot begins as a reasonable commentary on France’s post-colonial international meddling: Beaumont’s target is an African president whose political standing with France has little to do with how tyrannically he rules his country. The film also attempts to create in Beaumont a world-weary figure who, having lost his ideals, has no reason to live other than revenge (and getting laid a few last times).
Beaumont is difficult to sympathise with. His insistence on visiting his wife, Jeanne (Elisabeth Margoni), brings her to the attention of Inspector Rosen (Robert Hossein), who Beaumont knows full well will treat her brutally. Elisabeth faces some physical violence and is almost raped by a WPC (a shameless excuse to get the actress naked, and to use lesbianism in a pandering way). Beaumont exacts revenge on her behalf, but the fact remains that she only had those experiences because of him. As he proceeds towards his goal, the film still pretends that Beaumont’s likeable, but guilt doesn’t seem to be reason enough for old and new friends to help him.
Visually, The Professional looks lacklustre, barely above a TV production. This carries through in the action scenes, which are almost all clumsy. The comedic touch they often receive detracts from any sense of tension or from the bleak outlook the film attempts to portray. Beaumont’s original jail break is so poorly staged that it’s complete nonsense. A car chase in which some quite good stunt drivers tear through Paris streets, even below the Eiffel Tower, is the one bit of decent action in the film.
The last straw is that way The Professional uses Ennio Morricon’s “Chi Mai”. It is, in a word, incessant. It might have been enough to ruin the movie – if the movie was any good to begin with.