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  The next morning Stansfield spots Mathilda returning from the grocery store. It's not long before dozens of DEA storm-troopers descend upon Leon's small apartment, with the sole intention of taking them out. During the attack Leon kills the squad team, but when the CAT's arrive he decides has no choice but to face them alone. After providing a route for Mathilda to escape to safety, Leon sacrifices his own life in order to kill Standsfield for Mathilda. Upset at hearing the news of Leon's death, Mathilda try's to get a job working as a cleaner for Tony. But he doesn't relent to her plea like Leon did and demands that she go back to school.    Leon is a very slick thriller, comprised of terrific action sequences and minimal plot. The critical difference with the film is that writer and director Luc Besson makes the characters far more important, exploring their personalities and deeper feelings. Separately, Leon and Mathilda are stuck in opposing aspects of a childhood time-warp. He is an adult with the emotions of a kid because his inability to read and write reflects this, while she is treated as a little girl despite having grown up prematurely. Hence, they are fellows in spirit and ambition.   For the part of Leon, Jean Reno plays the character more with mannerisms and body language than with facial expressions, showing at times the closer he is drawn to Mathilda, the more uncomfortable he appears. Gary Oldman splatters his performance all over the screen. He is one of the least inhibited actor of his generation, and as this deranged detective Norman Stansfield, he keeps absolutely nothing in reserve. When the camera gets close to him, you feel as if you want to back away. Stansfield's signature is his passion for music, as he performs his blood orgies to the of rhythum of Beethoven. 
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