Purple Noon
| Purple Noon | |
|---|---|
 Official US poster | |
| Directed by | René Clément |
| Produced by |
Raymond Hakim Robert Hakim |
| Written by |
Patricia Highsmith René Clément Paul Gégauff |
| Starring |
Alain Delon Maurice Ronet Marie Laforêt |
| Music by | Nino Rota |
| Cinematography | Henri Decaë |
| Distributed by |
Titanus Miramax (Re-released in United States) |
| Release dates |
|
| Running time | 115 minutes |
| Country | France |
| Language | French |
| Box office | $618,090 |
Purple Noon (French: Plein Soleil, aka Full Sun, Blazing Sun, Lust for Evil and Talented Mr. Ripley)[1] is a 1960 film directed by René Clément, based on the 1955 novel The Talented Mr. Ripley by Patricia Highsmith. The film stars Alain Delon in his first major film. The film, principally in French, contains brief sequences in Italian. Romy Schneider appears briefly in an uncredited role as Freddie Miles' companion.
The film's source novel was adapted again in 1999, under the original title, directed by Anthony Minghella, starring Matt Damon (as Ripley), Jude Law (as Greenleaf), and Gwyneth Paltrow (as Marge).
Plot
The American Tom Ripley (Delon) has been sent to Italy to persuade his wealthy friend, Philippe Greenleaf (Maurice Ronet), to return to the United States and take over his father's business. Philippe intends to do no such thing, however, and the impoverished Tom enjoys living a life of luxury, so the two men essentially spend money all day and carouse all night. Tom is fixated on Philippe and his girlfriend Marge (Marie Laforêt), and covets the other man's life. Philippe eventually grows bored with his friend's fawning and becomes cruel and abusive to him. The final straw is when, during a yachting trip, Philippe strands Tom in the dinghy and leaves him to lie in the sun for hours.
Back on board, Tom hatches a plan to kill Philippe and steal his identity. First, he leaves evidence of Philippe's philandering for an outraged Marge to find. After Marge goes ashore, Philippe confronts Tom, who admits his plan quite casually. Philippe, believing it to be a joke, plays along and asks Tom for the plan's details. Suddenly frightened, Philippe offers Tom a substantial sum to leave him and Marge alone, but Tom states that he can obtain this sum anyway, and far more. At last pretending to accept his offer, Tom stabs Philippe to death as the latter screams Marge's name. He casts the body overboard and returns to port.
Upon returning to shore, Tom informs Marge that Philippe has decided to stay behind. He then goes traveling around Italy using Philippe's name and bank account, even flawlessly mimicking his voice and mannerisms; in effect, Tom has become Philippe, even affixing his own photo, with notary seal, in Philippe's passport. He rents a large suite in a Rome hotel.
When Philippe's suspicious friend, Freddie Miles (Billy Kearns), begins to suspect the truth while staying in the same hotel, Tom murders him as well. Freddie's body is soon found and the Italian police inevitably get involved. However, Tom continues playing his charade, switching between his own identity and Philippe's, depending on what the situation demands. After carrying out an elaborate scheme to implicate Philippe in Freddie's murder, Tom forges a suicide note and a will, leaving the Greenleaf fortune to Marge.
In the aftermath, Tom has survived a long string of close shaves, thrown the Italian police off his trail, and seems to have outwitted everybody. He even succeeds in seducing Marge, with whom he begins openly cohabiting. However, when Philippe's yacht is being moved into dry dock, his decomposed body is found still attached to the boat because the anchor cable used to sink his corpse had become tangled around the propeller. The film ends with Tom being unknowingly called toward the police.
Reception
Purple Noon was lauded by critics and made Delon a star. In 1962, Clément and Paul Gégauff won an Edgar Award from the Mystery Writers of America for Best Foreign Film Screenplay. It enjoys a loyal cult following even today, with fans including film director Martin Scorsese.
Roger Ebert gave Purple Noon three stars (compared to the four-star review he gave to the 1999 version of The Talented Mr. Ripley[2]), writing that "the best thing about the film is the way the plot devises a way for Ripley to create a perfect cover-up," but criticized the "less than satisfactory ending," feeling that "Purple Noon ends as it does only because Clement doesn't have Highsmith's iron nerve."[3]
James Berardinelli, however, rated Purple Noon higher than The Talented Mr. Ripley, giving it a four-star review (compared to two and a half stars for The Talented Mr. Ripley[4]). Berardinelli praised Delon's acting, saying that "Tom is fascinating because Delon makes him so," and also complimented the film for "expert camerawork and crisp direction."[5] Berardinelli placed Purple Noon on his All-Time 100 list, and compared it to the 1999 film: "The remake went back to the source material, Patricia Highsmith's The Talented Mr. Ripley. The result, while arguably truer to the events of Highsmith's book, is vastly inferior. To say it suffers by comparison to Purple Noon is an understatement. Almost every aspect of Rene Clement's 1960 motion picture is superior to that of Minghella's 1999 version, from the cinematography to the acting to the screenplay. Matt Damon might make a credible Tom Ripley, but only for those who never experienced Alain Delon's portrayal."[6]
Highsmith's opinion of the film was mixed: she felt that Alain Delon was "excellent" in the role of Tom Ripley,[7] and described the film overall as "very beautiful to the eye and interesting for the intellect."[8] However, she criticized the ending in which Ripley is implied to be caught by the police: "[I]t was a terrible concession to so-called public morality that the criminal had to be caught."[8]
Restoration and re-release
In 2012 StudioCanal funded a restoration of the movie by the Immagine Ritrovata laboratory, a restoration being all the more warranted as part of the film's atmosphere is due to the sun-drenched scenes mentioned in the film's original title. The restored version was to be shown at the 2013 Cannes Film Festival as part of an homage to Delon's career, prior to re-release in France at least.[9][10]
On December 4, 2012, the Criterion Collection released the high-definition digital restoration of Purple Noon on Blu-ray and DVD. Special features include an interview with René Clément scholar and author Denitza Bantcheva, archival interviews with Alain Delon and Patricia Highsmith, the film's original English-language trailer, and a booklet featuring an essay by film critic Geoffrey O'Brien and excerpts from a 1981 interview with Clément.[11]
References
- ↑ Maurice Bessy. Maurice Bessy, Raymond Chirat, André Bernard, ed. Histoire du Cinéma Français 1956–1960. Pygmalion. ISBN 978-2857043799.,
- ↑ "The Talented Mr. Ripley :: rogerebert.com :: Reviews". Chicago Sun-Times. Retrieved 2012-02-22.
- ↑ "Purple Noon, rogerebert.com Reviews". Chicago Sun-Times. Retrieved 2012-02-22.
- ↑ "The Talented Mr. Ripley – A Film Review by James Berardinelli".
- ↑ "Purple Noon (Plein Soleil) – A Film Review by James Berardinelli".
- ↑ "James Berardinelli Top 100: #86: Purple Noon". ReelViews.net. Retrieved 2012-02-22.
- ↑ Interview with Patricia Highsmith by Gerald Peary
- ↑ 8.0 8.1 Wilson, Andrew (2003-05-24). "Ripley's enduring allure". Telegraph.co.uk. Retrieved 2010-12-30.
- ↑ "Cannes va rendre hommage à Delon". Le Figaro. 2013-05-07. Retrieved 2013-05-07.
- ↑ "Cannes Classics 2013 line-up unveiled". Screen Daily. Retrieved 2013-04-30.
- ↑ The Criterion Collection
External links
| ||||||||||||||
| |||||||||||