Purple Noon

Alain Delon makes me question my heterosexuality, violently interrogate it.

Holy damn, this is a specimen of opportunism and lady luck. A stunning godfather like soundtrack along with phenomenal acting and a story which amazes

Saw someone describe this as anti-noir and while I'm not sure what that means, I think if I did look it up in the dictionary this film would come up.

There are quite a few differences between this and 'The Talented Mr. Ripley' which tries to make the audience understand and even sympathize a bit, maybe, with Tom. That is next to impossible in Clément's version wherein the character is fascinatingly cynical and, of course, Delon being Delon, a whole deal more cool. The film is nicely shot and initially gripping but loses momentum somewhere along the way.

Clement has fashioned a tightly paced mystery with an excellent performance by Delon.

The differences with two versions, Plein soleil and The Talented Mr. Ripley, are huge. For example in the latter version Ripley is more victim of circumstances - kind of survival running for his life - while in the original version he was more self-assured what he's doing. Then again remake contains more tricky details and twists and better ending. As a movie Plein soleil is more compact package.

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This version of "The Talented Mr. Ripley" has a significantly different ending than the novel (and the 1999 film). It feels out of place, but otherwise maintains a pretty dark tone. Delon's chilly, unflappable performance as Ripley stands out in contrast to Damon's more troubled interpretation. Otherwise, the two films are quite similar and hit almost all the same major plot points. Both are fine in their own right, and I would say if you've seen one, you probably don't need to see the other.

Excellent version of the Ripley story, though it disappointingly chickens out at the ending, the only thing keeping it from a better score. Delon is pitch perfect in the role as the sociopathic Ripley. It's just beautiful filmmaking on the whole.

Having just watched The Swimming Pool last night, I seem to be caught in Delon's slow-burning film period. This thriller has some incredibly tense moments, some odd ones (the fish head in the market, the hand going down the stairs), and, if honest, some plodding stretches of planning. But there's the beautiful Italian scenery popping in every scene, and Delon's cool-but-psycho visage makes it well worth watching.

Delon is better than Damon, but Jude Law is better than Maurice Ronet. If this movie had Philip Seymor Hoffman, it would probably be a 90.

A fine summer movie.

Excellent on all counts.

Nice story, but a little bit old now...

Delon is hypnotic. Beautifully shot. Well paced. I think the editing here is one of the strongest components in highlighting all its strengths. Way more entertaining than one would expect.

Rewatching 'Plein Soleil', it's obvious how much not only the 1999 adaptation of the same Highsmith novel, but the genre of the psychological thriller in general owes to it. Clément's naturalistic, deliberate, sometimes detached direction only ever reveals what it must, and Delon's rightly praised performance is all the better for its opacity; the viewer, rather than identifying with him, feels like a voyeur and an accomplice.

Nice ending

Breezy European film noir. I still haven't seen the remake.

Very cool and subdued Alain Delon. The film moves along quickly, from one absurd obstacle to the next.

Best Tom Ripley's film

It's easy to get lost in the visuals like you're drifting out to sea. The actors are hot hot

Very atmospheric film, I really like the sets and the places. The story is really good and the acting really drives you in, but the pacing and explanations feel a bit outdated at times.

An unenjoyable watch about a lying, murdering creep, despite some nice Italian scenery along the way.

A more even mix of gritty and glitzy than the sleek melodrama of "Talented". I guess I really go for melodrama, because that later film has a lot more punch that does a lot of good; this one feels rushed at points, too subtle, and has a poor ending. Its best feature is the aloof and very handsome Alain Delon in the Ripley role, and the quasi-homosexual tension between Tom and Philippe.

A ridiculously fun film, set in eye-popping Roman locales with Alain Delon as an impossibly suave criminal. On visuals alone, this is one of the best, but it's also an extremely enjoyable watch from start to finish. This is the film that made Alain Delon a movie star.

I was astonished at M. Delon's ability to make his character crackle with an amoral vivacity. Talk about lack of impulse control!

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Romy Schneider makes a very short cameo in the beginning.

Very solid crime drama, directed by René Clément in a straightforward, workmanlike but appealing visual style. Alain Delon is rivetting in the lead.

The relation between Tom and Phillipe is more understated and the lack of real dialogue between the two compliments the overall story. Their relationship is much more intense and Tom's desire for a different life is very stirring.

Delon's film all the way. He's both charming and disquieting, a blend that's perfect for the Ripley character. At times it did feel like everything was just going through the motions but it was well done and engaging, so not much of an issue.

870

I really enjoyed this more on a rewatch. Initially, I compared it too much with Minghella’s version which I saw first. That one deepens the character of Tom Ripley and offers more sympathy for him. It’s also a lavish period production with a huge cast. This one is a raw version where Delon’s Ripley is a cold-blooded psychopath who has no problems killing those who get in his way. The sailing scenes and Riviera locations were great. I still prefer the newer film, but I do like this one as well.

855

9+ amazing