Although its reputation is as a thriller, it feels peculiarly hollowed out, much more akin to Visconti's adaptation of The Stranger. Delon is beautiful, impenetrable, manipulating us and his marks several times with his knowledge and commitment. That his motives or capabilities are always murky only intensify its existential cred.
Alain was so nice to look at haha. I liked how the film started in medias res. I've seen the 2000 version with Jude Law quite a lot, so it was interesting and really different to see an original (i think) take on Highsmith's story. Beautiful views, a bit of an art film quality.
"Le réalisme psychologique" français dans toute sa réussite avec un scénario sur mesure (les romans de Highsmith sont une mine d'or pour les réalisateurs), un Alain Delon qui savait encore être intéressant et dense, un réalisateur dans la force de son talent. Une oeuvre qui reste toujours présente, active et moderne ! www.cinefiches.com
Plausible characters and plausible plot developments - not once did I think why are these people so stupid - plus a marvelous ending. This could be the formula for great thrillers. There’s also something special in the way different objects are used in the story - the cane, the boat, etc.
A 'third wheel' worst case scenario! Arguably, Delon seems too handsome and smouldering to play the precocious yet disturbing outsider, Ripley. Other than this barrier to suspending my disbelief, this is a superb Highsmith adaptation rightfully distinctive within film history. The Minghella remake I can abide, but Clement hits the home run. 3.5
Key example of how not being overly faithful to the original novel is justified - if, what you come up with works on its own terms. The long section on the boat isn't in the book but is a brilliant expansion and prefigures KNIFE IN THE WATER. The ending is very different but feels inspired. Delon luxuriating by the water plays like a lead-in to his equally amoral character's life by THE SWIMMING POOL.
Alain Delon captivates the eye with his darkly alluring, charming, and sly approach as Tom Ripley that it's tempting to share in the guilty pleasure of this murderous mastermind. Rene Clement's style breathes through the film with a refined and poetic approach that matches well with the thrillers of the time.
Purple Noon is a beauty to the eye, and Alain Delon is exceptional. I love the way Tom Ripley vacillates between identities, and the flâneur scene of Tom walking through the market and staring at all of the dead fish was very symbolic. Easily a classic when you consider Henri Decae was behind the camera and Nino Rota produced the score.