Matilda, as an immature early teenager (where the heck are people getting this business of her being so mature?), is going through the hormone-crazed stage where she’ll want to screw any guy who has anything whatsoever to recommend him. Leon is the best man she’s ever encountered in her life, and is genuinely good to her, so naturally she’s drawn to him. Leon, however, is a mature adult (again, where are people getting that he’s immature?), and although he doubtless has an interest in sex, he does not have any interest in sex with a child. His side of the relationship is entirely paternalistic.
In the American release, the drama of the movie comes from the tension of his character:He’s a professional killer, and thus evil, but at the same time, he tries to do the best he can to raise and protect a vulnerable child. We see the evil and the good mixed in him. Make him a pedophile, though, and you destroy that tension: He’s just completely, unambiguously, a 100% evil creep.
Ah ok, I see where you’re coming from now, and I mostly agree with you. The beauty of the film tho, is the tension it creates in the viewer as we wonder whether or not we are going to see Leon & Mathilda cross that line. It’s a powerful bit of uncomfortable that adds a huge dimension to characters and events that might otherwise be flat and stereotypical. It’s a credit to the talents of all involved that they so deftly waltz right up to the line multiple times without ever crossing into the Creep Zone.
FTR, this is one of my favorite films and, IMO, one of the 10 best films from the last 30 years or so. The script is tight, the story is interesting, the direction stylish without being constricting and the performances of the 4 leads (Portman, Reno, Aiello and especially Oldman) are all absolutely fantastic.
It does read like particularly bad slash, doesn’t it? This is the source that the Cracked article links to, which doesn’t strike me as particularly definitive. It says “from an idea by Luc Besson” and doesn’t identify the author.
I’m not sure about that. Either way, at the end of the movie, he’s a guy who sacrifices his own life to save someone else. If that can be presented as an act of redemption for a mass murderer, why not for a pedophile?
Trying to find that particular passage in the script, I ctrl-Fed the word “sweetly.” It’s in there 19 times. 19. What the actual fuck did I just skim? :dubious:
There’s a translator’s note at the bottom. My guess (if it’s real) is that it was originally written in French and the translator used “sweetly” for every occurrence of “doucement,” even where “softly” or “gently” or “carefully” (etc.) would’ve been more appropriate.
Not that “but hell, how beautiful it is seeing them gently making love” is much better.
Where are you getting his maturity ? His employer treats him like a dum-dumb. His idea of consoling a child whose entire family has been shot to pieces is to play with his pig oven mitt. He talks to his plant and we get the impression that his plant, his boss and the people he kills are just about his only social interactions. If he’s not immature, he’s at least very stunted.
I also remember a scene (which might be only in the director’s cut ? I never saw the US theatrical release) where Mathilda’s trying to tell him she loves him and he makes her all gooey in the lower department by explaining, in a sultry voice, that her belly used to be all kinds of tense but when she’s with him it’s all soft and warm (HINT, HINT).
To which he dumbfoundedly answers that he’s happy for her that she doesn’t have a stomachache any more. The innuendo and sexual overture sail right past him.
On YouTube, they have the ‘Making Of’ video. Besson states outright that Leon is 15 years old in maturity. He actually made the specific point of saying (and I’m paraphrasing) ‘not 14, not 16…15 years old’.
And I got the feeling that Tony didn’t have all of Leon’s cash ‘on hand’, or that Leon even knew how much cash he had. He might not have been stealing from Leon, but I’m fairly certain he was using the money and only giving Leon (followed by Matilda) an allowance. I also doubt he was paying Leon a fair wage for his work.
Leon is an odd one, isn’t he? A simple “kid, you’re twelve, and I’m not a pedophile” would probably have shut Mathilda up, but he never says that to her. So I wonder if that’s even what’s stopping him, or something else (maybe it even really is his someone else, from long ago). Now, I’m certainly not saying he *is *a pedo, there’s no reason to think anything like that, although he certainly seems to be a bit funny in the brainpan in one way or another - “emotionally stunted” might sum it up. Only that maybe it’s not even relevant.
Come to think of it, I think maybe he’s suffering from something like PTSD, of a constantly reinforced variety. Starting at 19 with the girlfriend incident, and going on ever since.
If a minor tries to come on to me sexually, even if I realize what she’s doing (heck, especially if I realize what she’s doing), I’m going to give a completely nonsexual response, because even just acknowledging the come-on might be interpreted as acceptance.
I don’t think Tony had the money on hand reserved just for Leon. It was probably siphoned into other activities. I do think, however, that if Leon needed an accounting of it all, that Tony would pay the debt in full. I think Tony is most uncomfortable by Leon’s sudden curiosity, and the “oh shit, now I’ve gotta figure out how to move that money.”
The way I’d see it, if I were Tony, is that a hit man’s life is a short one, and keeping Leon’s money means a very high probability of profit if Leon dies before cashing out.
