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60 out of 63 people found the following comment useful :- The Riveting Mr. Ripley, 6 March 2007 Author: alainbenoix from Paris, France
I saw Minghella's "The Talented Mr. Ripley" and Clement's "Purple Noon" back to back. Two entirely different movies based on exactly the same book. The differences are personal of course. Minghella has a moralistic view of his characters and their darkness must be, somehow, explained if not justified. Clement's allows the amorality of his characters to run loose. Minghella casts Matt Damon as Tom Ripley, a rather invisible actor in every way and although he's pretty good here, he's not good enough to overshadow his rival: Jude Law. Clement casts Alain Delon as Ripley and you will be with him all the way, you'll go where he goes you will turn out to be as amoral as he is - at least I did, I just wanted him to get away with it and why? Because he was Alain Delon, the Tom Ripley that, clearly, Patricia Highsmith intended. His rival is Maurice Ronet, good as he is, I didn't miss him when he left. You know why? Because I was left with the dangerous, magnetic, amoral, riveting Alain Delon. Clement allows us to see the difficulty and danger of the murders, we see them, we are there. Minghella plays it rather hurriedly. There is no real tension or horror. The most suspenseful moment is at an Opera house. The pluses on "The Talented Mr Ripley" - besides the aforementioned Jude Law - are Gwyneth Paltrow and Cate Blanchett in two beautifully written and performed parts. In "Purple Noon" Marie Laforet is left rather to her own devices. Once all said and done you can watch both films as if they weren't even related. I prefer "Purple Noon" but that's just me.
45 out of 62 people found the following comment useful :- Better Cast than Damon, et. al., 9 February 2004 Author: tonstant viewer
I found this film more interesting than the recent Minghella opus because the people were more disturbing. Alain Delon is too good-looking to be dismissed as the geeky wannabee Matt Damon plays. His insanity in a pretty package is as unsettling as Gene Tierney's in "Leave Her to Heaven." Delon looks like Maurice Ronet's brother, and you can see him wonder why if he's just as handsome as the other guy, why doesn't he have as much money? Ronet is more unpredictable than Jude Law as the whimsical rich boy and his death is every bit as shocking.I can't imagine that Anthony Minghella hadn't seen this version before making his own. He probably regrets Scorsese's reconstruction of Rene Clement's film so we can all make the comparison. Some scenes play like a shot-for-shot remake. Billy Kearns's brutal Freddy Miles is an obvious template for Philip Seymour Hoffman's more calculated and less powerful performance, and Gwyneth Paltrow's final breakdown is VERY close to that of Marie Laforet's.All through the 1999 film, I kept wondering why everybody couldn't see what was wrong with the toad-like Damon. In this one, Delon's plausible, even glamorous exterior made the success of his deceptions more understandable, and more frightening.
35 out of 44 people found the following comment useful :- Terrific version of the Patricia Highsmith novel, 26 June 2004 Author: rlshuster from New York
Extremely well done, tightly edited, well acted (by everyone, including the small roles, especially the actor who has to appear dead with long camera shots in a tense scene in the hotel). Delon is perfectly cast, with his calculating cool. The cinematography is gorgeous, especially the scenes on the yacht---nothing gimmicky, but shot with an expertise that gives true drama to the action. You can feel the waves, the wind, and the sun. The colors are vibrant on the DVD. Though a scene like this in a typical movie today would include a heavy ominous score, the director simply lets the sound of the wind create the tension. The score (by Nina Rota), in fact, is understated, unlike anything today. Even the opening credits have style.
22 out of 23 people found the following comment useful :- Clément's camera is always in some unexpected place that enhances the drama and tightens the suspense; Alain Delon makes an excellent Tom Ripley, 6 March 2007 Author: J. Spurlin from United States
I'm fascinated by a scene at a restaurant. We get an extreme close-up of a woman who is kept out of focus while another character in the background, who is speaking and is in the center of the shot, remains in focus. Is the woman who is out of focus important or not? More to the point, was shooting it this way a good idea? It illustrates by contrast how sure-footed René Clément is most of the time. Usually there can be no debate.I wasn't familiar with Clément's work until this film, but my God, he's good. His camera is always in some unexpected place that enhances the drama and tightens the suspense. He shares that talent with Orson Welles (meaning the Welles of "Citizen Kane" and "The Magnificent Ambersons," not, say, "Lady from Shanghai"), who also made decisions that are surprising yet invariably right.Tom Ripley (Alain Delon) and Phillipe Greenleaf (Maurice Ronet) are lately inseparable friends. They're both idling in Europe, but on papa Greenleaf's dime. Phillipe's fiancée Marge (Marie Laforêt) feels sorry for Tom but resents his presence. Phillipe's other friend, Freddie (Billy Kearns), considers Tom Ripley a worthless moocher. But there's more to Tom Ripley, the mimic, the forger, the talented criminal improviser, than anyone, even Tom Ripley himself, can guess.Alain Delon, with his chiseled looks and cold beauty, makes an excellent Tom Ripley. The script is brilliantly adapted from Patricia Highsmith's terrific suspense novel, "The Talented Mr. Ripley": the dialogue is always bringing the themes of duplicity, love, self-love, the nature of identity, ruthlessness and murder to the surface where they are given a brilliant sheen by Clément and his cinematographer Henri Decaë. We're left to figure things out for ourselves, which is rare. Do we need to be told what Tom thinks of when he sees all those dead fish? When a door with a mirror swings open toward Tom, do we need to see Tom's mirror image to understand the mirror's significance? Or is it enough that we know there's a mirror next to Tom? I know what the answers would have been in Hollywood—in 1960 and now. Here, the answers are no, no and yes.
14 out of 15 people found the following comment useful :- Delon shows his stuff!, 25 August 2002 Author: Carrie k from Planet Earth
Up until he starred in this movie, Alain Delon was considered a light romantic lead--not surprising at all since his breathtaking good looks would naturally lend itself to that sort of matinee idol typecasting. It was only when director Rene Clement tapped into the dangerous undercurrent held in reserve behind the placid, beautiful surface that Delon's wholly unique, dark, sociopathic persona would emerge--the persona which would put him on the map and he would forever be identified with. In "Plein Soleil" AKA "Purple Noon," Delon exudes all the stealth and sleekness of a panther--dark-haired, riveting gaze, smoldering, seductive and sinister. And like a panther, he proves himself to be just as lethal. Delon stars as Tom Ripley, a pretty-but-poor young man who takes off to Rome as an errand boy to fetch the wayward Philippe Greenleaf (Maurice Ronet), and bring him back home to San Francisco to his impatient, rich father in exchange for $5000. Not surprisingly, the spoiled, unsupervised Philippe doesn't want to return and give up his profligate, libertine lifestyle, and neither does Tom, when he gets a taste of how the other half lives. And he soon determines he doesn't have to, when he concocts to take over Phillippe's money, his beautiful girlfriend Marge Duval (Marie Laforet), his identity. But of course, even in a perfect scheme devised by a cunning mind, one can't plan for everything and things eventually go south for our man Ripley.I haven't read the Patricia Highsmith book on which this is based, but I've seen the other film version of it, "The Talented Mr. Ripley" so I have only that to compare it with. First the titles: The latter one gets right to the point and is intriguing for that; the original has a certain romantic appeal, but is sinister behind the pretty sound of it--it portends of dark (purple) clouds (of evil) converging upon a bright sunlit horizon. The latter film has outward homoerotic aspects that is very latent in this version (so much so that those expecting it to be overt will probably not notice--but it had to be given the era in which the movie was released), but it's there all right. Tom is ostensibly supposed to covet Marge, but even when she's in a scene with him and Phillippe, the tension and electricity fairly crackles between the two intense young men, but not with her. Another difference, and I understand the latter version to be faithful to the book in this way, is Marge is not affluent, which rather puts her more in Tom's position as she is also at the mercy of Phillippe's money and volatile moods, and that lends another aspect to the film. These differences I found negligible and didn't take away anything for either movie to me.However, I must say I found Delon's Ripley far more appealing than Matt Damon's one. Not taking anything away from Mr. Damon as he is a capable actor and an attractive man, but he simply is not in Delon's league, either in the looks or magnetism department. Damon really downplayed his pleasant looks for the role, and I really think that was a minus--he not only looks, but acts so unsettling that even a new born babe wouldn't take candy from this man. Delon, on the other hand, is a much more refreshing villian and, strangely enough, more believable. Refreshing because he's such a change from the usual villians that you would peg right from looking at them they're a heavy--they look unsavory (or at the very least not attractive). Believable because despite whatever sinister intentions Delon's Tom might emit, he's outwardly likeable and what's more, is so devastatingly handsome that it's easy to see how people would not take their instincts about such a person seriously and would let their guard down. Ronet is fine in his portrayal as the not-so-nice rich boy Phillippe, but Laforet as Marie--to me she came across like an afterthought, she's bland and forgettable, but that's ok because the dynamics are between the two men, and later with how Tom handles his predicament. This being said, I didn't care much for the pat crime-doesn't-pay finale in this one and thought the latter version far more satisfying in that respect. Both are excellent movies in their own respective ways, I don't know if anyone can really say one vastly outdoes the other, but see this one if you want to see Delon unleashed.P.S. Look for Romy Schneider, Delon's fiancee at the time, in the beginning of the movie as one of Phillippe's companions. The beautiful, Austrian-born Ms. Schneider followed Delon back to France after she fell in love with him during the making of "Christine."
21 out of 29 people found the following comment useful :- Adventures In Paradise, 18 May 2005 Author: Lechuguilla from Dallas, Texas
Visually, this film could serve as a cinematic poster for a Mediterranean cruise. Cinematographer Henri Decae draws us into the film with its alluring Italian locales and gorgeous panoramic vistas. Bright, complementary hues and high color contrast translate into eye-popping reds and yellows. And, of course, there's the deep blue color of the sea, and a brilliant sunlit sky. Such is the setting for a story wherein three attractive, young adults (Tom, Philippe, and Marge) test a 3-way relationship that is far more complex than it first appears.Indeed, trouble lurks beneath the surface (so to speak), in this "Italiano paradiso" thriller. In the first forty minutes, the psychological motivations of our three beautiful people are unclear and subject to change. It's hard to tell who is doing what to whom. Subsequent to this narrative setup, we see exactly where the story is headed. Because "Plein Soleil" is a psychodrama, casting is important. The three leads (Alain Delon, Maurice Ronet, and Marie Laforet) are all convincing in their roles.I have not read the Highsmith novel on which the screenplay was based. So I cannot make an intertextual analysis. I do think this 1960 film is superior, for various reasons, to the more recent remake. Adroitly directed by Rene Clement, with a buoyant musical score by Nino Rota, "Plein Soleil" is a character study of an amoral pleasure seeker whose charming personality masks the evil within. The juxtaposition of inwardly criminal intent with outwardly idyllic scenes of Italy and the Mediterranean results is an art house film that is both picturesque and suspenseful. It's a film that appeals both to our eyes and to our brains.
10 out of 14 people found the following comment useful :- Under the Sun, a film about the story of Mr Tom Ripley, 20 September 2001 Author: esteban hernandez from Italy
Two stars of the French cinematography, Alain Delon and Maurice Ronet, combined their efforts in this excellent film, which showed good views of Rome and Italy in its first half. The second part becomes the decisive one when Ripley (Delon)jealous of the wealthy position of Philippe Greenleaf (Ronet) decides to kill him in a yacht. Ripley intelligently was able to behave and sign bank checks as if he was Greenleaf. Even he conquered the love of Greenleaf's girl friend, but the end surprised him and everyone watching the film. This type of films should be among the 250 best of the last century, but for unknown reasons it is not included.
6 out of 7 people found the following comment useful :- One of the most exquisite ten thrillers, 26 July 2007 Author: Cristi_Ciopron from CGSM, Soseaua Nationala 49
*** This comment may contain spoilers ***
One of the most exquisite ten thrillersThe work of a very sardonic,mordant,straightforward and prompt intelligence,Plein Soleil (1960) amazes firstly by its stunning visual quality;such a film confirms the instinct that makes one reject a whole quantity of other movies that try to pass as thrillers.When you see such a movie you instantaneously have the feeling that most other so-called thrillers are mere bluffs and deceptions. Plein Soleil (1960) is so sensationally good it is the one worthy heir of Diabolique;indeed,it ranks with that other masterpiece.Delon's rancorous ,heartless and evil Tom is the coolest character this actor ever performed;truly, the chance of a lifetime. His easiness in Ripley's role is amazing;dressed up,dogged and sharp.Yes,but how almost equally good is the rest of the cast!And Delon is seconded by the upbeat and ambiguous,easy-going,cruel and injudicious "Philippe" and the hearty "Marge".The sordidness of the facts is intact.As narrative,Full Sun is a wonder of economy.There is a powerful stream of fresh eroticism,beginning with the fat and lovely blonde picked out by the two friends,Tom and Philippe.The violence and insanity are of a Hitchcockian precision and force.These are the innards of violence and iniquity.And these are the artistic things as one would like to see them always.The execution is flawless and the showmanship is impressing.How interesting and thrilling this movie is,how well narrated.The score is fine and the photography is physically delighting.The movie is a feast for the intelligence.On the other hand,this kind of algebra is the product of a lively perspicacity.For the connoisseurs,Full Sun is matchless.And one of the best movies of the '60s.As such,it reunites these three privileges:to be one of the best ten thrillers ever;to offer Delon's best role;to be one of the very best '60s movies.The atmosphere is one of the main kudos of this suspenseful and lapidary film.Its director did know cinema.For me,Full Sun was an astounding experience :one of those films that are so good that surpass all previous expectations.So,movies do not have to be stupid,clumsy and trite and insipid;on the contrary,Full Sun shows how they ought to be always:bright and beautiful,of a striking beauty,with much gusto and having something to say and straightforward.
9 out of 13 people found the following comment useful :- A delight, 8 October 2006 Author: ereinion from Lemuria
This 1960 version of the novel "Talented Mr.Ripley" beats the 1999 one clearly. Although other one was also good and more faithful to the novel, it dragged on a bit too much towards the end and Damon was just not a good choice for the leading role. Here we get to see Alain Delon, in his best days as actor and matinée idol.There are notable differences between this Ripley and the other one. He is not a homosexual here, so his murder of Phillippe Greenleaf is provoked solely by envy of his wealth and luxurious lifestyle, as well as the fact that he does what he wants and still gets away with it because he is the son of a bigshot. So this murder is cooler and more calculated than the one in the other film and the novel, I presume.I think that due to the time this film was made at, Ripley was turned into a heterosexual and thus his motif and personality differs somewhat from the original one. He also partly desires Greenleaf's sweet and forgiving girlfriend, Marge. The most interesting fact is that although Tom Ripley is a murderer and a crook, we still feel sympathy for him, or I do. The man he murdered was quite despicable and treated him like second class, an expendable thing, as he treated his women and in some way his own girlfriend. I believe Tom has a dislike for morally corrupt people and a sense of righteousness. His crime is therefore forgivable. He was a poor guy who wanted to get himself a piece of the cake and he did it.Delon is truly outstanding here. Other actors are solid, but he really shines. The last scene is the best and in some way both touching and sad, as we see Tom lying on the deckchair and drinking, blissfully unaware of what lurks around the corner. It is a magnificent touch by Rene Clement, a man whose work I have just started to get acquainted with and respect. Nino Rota's score enhances it all and makes this a true delight. Plein Soleil is really one of the best film-noirs I have seen.
5 out of 6 people found the following comment useful :- "Purple Noon" or "Kizgin Gunes" as we title it in Turkey..., 22 December 2005 Author: buktel from Turkey
I watched "The Purple Noon" with the Turkish title "Kizgin Günes" which means "The Scorching Sun" at cinema Elhamra in Izmir when I was 12 or so. (My birth date is 1950.) It was the first time when I saw the name and the image of Alain Delon on a movie poster. On the poster Delon was seen naked on the upper part of his body, directing a yacht's steering wheel. Years later I would read Highsmith's "Talented Mr. Ripley" and realize that, the screenplay of the movie had some fortunate differences from the book. One of these differences was the interesting dialog between Delon and Ronet on the latter's yacht just before the murder. This dialog which is written by the director Rene Clement (or his co-writer Paul Gogeoff), is, in my opinion, one of the finest, in all film history. Delon, tells Ronet, as a joke, about his plan to kill him and adopt his identity. Ronet enjoys the joke and criticizes the plan on its weak points. Delon logically answers all the criticisms Ronet has made. Ronet gradually realizes that the plan is too thoughtfully conceived and too minutely prepared. He begins to suspect that it may not be a joke. He gets nervous and then frightened, but only too late. Delon, suddenly initiating to materialize the plan, gets up and stabs Ronet with a knife. Ronet dies with a shock in his eyes. Delon throws away Ronet's body off the yacht into the sea. But he is unaware that he has failed to get rid of Ronet's body. At the final episode of the movie when the yacht is laid on the stocks, policemen(differently again from the book) find Ronet's moss covered body entangled with the propellers. In the film, Delon is caught by law whereas in the book, Ripley is not. After 40 years, all I remember of the film are the things which are absent (maybe missed) in the book. I also like the Highsmith's book and don't like the idea of changing books text just for the fancies of directors of cinema or stage. But Clement's (and Gogeoff's) script, I think, was full of creativity. I like Minghella's recent version of "Talented Mr. Ripley" much less than the Highsmith's book and Clement's film version of it. Minghella, seems to me, among many other things, especially missed Delon and the Fifties and the subtleties of Clement's script. After seeing the film and the fascinating personality of Delon as an actor, I had resolved that I would see any Delon film I would come across thereafter and did so.COSKUN BUKTEL
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