(In French, Second viewing, On Cable TV, June 2016) I know I’ve seen Léon at least once twenty-some years ago, but I didn’t remember much more than one or two images for it. Count that as a good thing, because it allowed me to rediscover Léon in most of its glory. It’s not a triumph of plotting, but of execution: writer/director Luc Besson’s a flawed filmmaker, but in Léon has managed to play to his strengths such as action, atmosphere and iconic characters, while minimizing most of his weaknesses like stupid dialogues and tiring anti-establishmentarianism. Well, most of his weaknesses, because if you go down the rabbit hole of the movie’s deleted scenes picturing a romantic relationship between the two lead characters and then match that to Besson’s own personal romantic history you will be screaming, “No, Luc Besson, no!” faster than you’d expect. But moving on: Léon distills a strong but uncomplicated story to a few action set pieces and clever character moments. It’s almost uncluttered (save from some oddities such as the shooting-the-president comic sequence), focuses on its better moments and showcases three great actors: Natalie Portman in her screen debut, Jean Reno in what’s perhaps still his best-known role (luckily, he dubs his own voice in the French version), and Gary Oldman in another great role in a long and varied filmography. The action beats are impeccable, and the atmosphere of a bustling but slightly rotten New York City is fantastic. Léon holds up all right, especially considering how often the teenage-assassin idea has been redone since then.