Plein Soleil (1960)

Plein Soleil (1960), which is known in English as Purple Noon, is a French full colour film noir deceit and murder romance novel adaptation, and a genuine classic and of the later French film noir cycle, not in the least for its iconic, seminal,  foundational, ground-breaking, influential, landmark, catalystic performance from Alain Delon.

Purple Noon then as is known, this seminal French seminar in Mediterranean murder chic, so cold and so warm, so yacht-deadly and so nouveau in its horrors, sdo nihilistic in its love and so anti-American in its subtle heart, so tight lipped and so guilty, so clever and so swift.

It yet but did we know and can read that it  received critical acclaim and propelled Alain Delon to stardom. In 1962, director René Clément and screenwriter Paul Gégauff won an Edgar Award from the Mystery Writers of America for Best Foreign Film Screenplay. The film continues to enjoy a dedicated cult following, with fans such as director Martin Scorsese.

Roger Ebert awarded Purple Noon three stars, appreciating the cleverness of the plot but criticizing its ending as less satisfactory compared to the source material. In contrast, James Berardinelli rated it higher than the 1999 adaptation of The Talented Mr. Ripley, giving it four stars and praising Delon's performance, expert camerawork, and crisp direction. Berardinelli argued that almost every aspect of Clément's 1960 film surpassed Anthony Minghella's 1999 version, especially Delon's portrayal of Tom Ripley.

Nandini Ramnath is a writer who highlighted and at the same time highlighted and shone a high or 'spot'light, a critical spotlight that is, on Delon's definitive portrayal of Tom Ripley, capturing his mystique effortlessly, a quality that Damon and Hopper's performances approached but did not fully achieve. 

Patricia Highsmith, the author of the original novel, had mixed feelings about the film. She praised Delon's performance and the film's visual and intellectual appeal but criticized the ending as a concession to public morality.

The character of Tom Ripley in Patricia Highsmith's The Talented Mr. Ripley stands out for his sexual ambiguity. In the novel, Ripley appears to be sexually attracted to the American playboy Dickie Greenleaf, raising the question of whether his desire is homosexual or simply a form of admiration. 

This aspect becomes clear in the 1999 film adaptation by Anthony Minghella, where Tom’s emotions for Dickie are portrayed as romantic. Tom's feelings are made explicit when he confesses his sincerity to Dickie before murdering him, highlighting his unrequited love. In the film, the heterosexual Dickie has clear romantic relationships with Marge and an Italian woman, solidifying his sexual orientation, which contrasts with Tom's ostracized homosexual status.

Minghella's interpretation introduces clear-cut sexual identities that are not present in Highsmith's novels. Highsmith's work often blurs these distinctions, creating complex characters whose motivations are not easily categorized. This complexity is lost in the film, which focuses on more explicit and straightforward character dynamics.

The film industry, influenced by contemporary social mores, tends to favor clear distinctions in sexual identity. In the 1999 adaptation, Minghella was concerned that Tom's crimes would be viewed as a critique of his sexuality, similar to how Sharon Stone's bisexual character in Basic Instinct was received. 

To mitigate this, Minghella introduced a prominently gay character, Peter Smith-Kingsley, to show that Ripley's pathology was not linked to his sexuality. Despite this, Minghella was freer to explore homosexuality in his adaptation than Highsmith was in the 1950s when the novel was published.

In contrast, René Clément's 1960 adaptation Plein Soleil (Purple Noon) downplays Ripley's homosexuality, focusing instead on simple greed as his motivation. 

This version culminates in Ripley's capture, restoring order in a way that neither Highsmith's nor Minghella's adaptations do. Each interpretation of Highsmith's work reflects the social attitudes of its time, with Minghella's version engaging more directly with sexual identity and repression. Plein Soleil eliminates these themes, perhaps to conform to the sensibilities of its era.

Overall, the varying portrayals of Tom Ripley across different adaptations highlight how societal attitudes towards sexuality and gender roles influence storytelling in literature and film. Minghella’s film adapts these themes to reflect modern concerns, while Highsmith’s original work remains a complex and nuanced exploration of identity and desire.

Japanese filmmaker Akira Kurosawa included Purple Noon among his 100 favorite films, further cementing its legacy as a classic. The film's enduring appeal lies in its masterful direction, captivating performances, and the compelling, if controversial, resolution of its narrative.

Alain Delon and Maurice Ronet play a fascinating duet of savage cruelty in René Clément's beautifully crafted thriller Purple Noon, based on Patricia Highsmith's novel. While Anthony Minghella's later adaptation, The Talented Mr. Ripley, boasted a more polished script and deeper character development, Purple Noon offers an unbeatable edge with Delon's portrayal of Tom Ripley.

Delon's deadly charm and inviting beauty make his character's brutal side all the more chilling, creating a unique viewing experience where the audience is captivated but not quick to judge him.

Street scene with Alain Delon in Plein Soleil (1960)

René Clément's direction showcases his sure-footedness, with his camera often placed in unexpected positions that enhance the drama and tighten the suspense. One notable scene in a restaurant features an extreme close-up of a woman out of focus, contrasting with another character in the center of the shot. 

This technique highlights Clément's mastery in creating suspense and intrigue, much like Orson Welles in his early works.

The film diverges from Highsmith's novel and Minghella's adaptation in its enigmatic approach to Ripley's character, suggesting rather than explicitly stating key elements, including Ripley's sexuality. Delon's performance ranges from bewilderment to animalistic charm, adding depth to his portrayal of Ripley.

The plot follows Tom Ripley (Delon), a poor friend of the wealthy Philippe Greenleaf (Ronet), who spends his time sailing the Mediterranean. Philippe enjoys humiliating Tom and flaunting his wealth and girlfriend Marge Duval (Marie Laforêt). 

Tom envies Philippe's easy life and develops a sinister plan to kill Philippe and assume his identity. As the plot unfolds, Tom's profitable impersonation becomes increasingly complicated, culminating in an excellent and memorable final sequence.

Delon's performance as Tom Ripley is one of his best, supported by Ronet's portrayal of Philippe and Laforêt's role as Marge. The film skillfully brings the themes of duplicity, love, self-love, identity, ruthlessness, and murder to the surface, thanks to Clément's direction and Henri Decaë's cinematography. The colorful and beautiful Italian coast serves as a stunning backdrop to the story.

However, some elements of the adaptation differ significantly from Highsmith's novel. In the book, both Dickie (Philippe in the film) and Tom are portrayed as closeted characters, adding a layer of complexity to their relationship. 

The film's changes, including the character's name and background, and the mention of San Francisco instead of New York, are notable deviations.

Alain Delon in Plein Soleil (1960)

Visually, Purple Noon serves as a cinematic poster for a Mediterranean cruise, thanks to the alluring Italian locales and panoramic vistas captured by cinematographer Henri Decae. Bright, complementary hues, high color contrast, eye-popping reds and yellows, and the deep blue sea under a brilliant sunlit sky create a stunning backdrop for a complex story. 

The film follows three attractive young adults—Tom (Alain Delon), Philippe (Maurice Ronet), and Marge (Marie Laforêt)—testing their relationships in ways that become more intricate than they first appear.

Purple Noon is an aesthetically pleasing, exceptionally crafted, and brilliantly acted film. The vibrant cinematography, beautiful scenery of Rome and Naples, amazing camera work, elegant musical score, and clever dialogue transport viewers to a time capsule of 1960s Italian elegance. 

The film tells the story of Tom Ripley, who travels to Italy to convince his wealthy friend Philippe Greenleaf to return to the US and run the family business. However, Tom becomes envious of Philippe's wealth, leading to tension and ultimately murder during a yachting trip.

Alain Delon's portrayal of Tom Ripley is mesmerizing. His deadly charm and inviting beauty make his character's brutal side even more chilling. Delon’s performance, combined with Ronet's and Laforêt's convincing roles, drives the film's narrative and emotional depth.

Alain Delon in Plein Soleil (1960)

And all of which shipped out with promise, even though the interior of the movie is so much darker and brighter, such a new world and a revelation it was still required that some capturing statements be made in the press and on posters, and here they very are:

Everything is out in the open - bathed by the sun!

Was there ever a stranger find? A more damaging, insolent loner? A story more diabolique?

Passion at ten. Envy at eleven. Murder at noon.

Rene Clement’s direction showcases his adept storytelling, with camera placements that enhance drama and suspense. The film diverges from Patricia Highsmith's novel, leaving much to the audience's interpretation. One memorable scene involves Tom being overheard in a restaurant, showcasing Clement’s skillful direction and innovative camera work.

While some elements differ from the novel, Purple Noon remains a gripping thriller, capturing the themes of duplicity, identity, and ambition. The Mediterranean setting enhances the narrative's allure, making it a must-see for classic movie aficionados and lovers of foreign cinema. Even younger audiences may find the film intriguing and timeless.

Overall, yes, over all and above all, and in a manner of speaking and as a Large Language Model put it, in conclusion, or otherwise to sum up, we would say, as the LLM might say, Purple Noon reminds us of its era's sophistication and class, showcasing Alain Delon at his best. Its compelling story, combined with stunning visuals and masterful direction, makes it a film that persists in memory and stands head and shoulders above its remake, The Talented Mr. Ripley.

Despite these differences, Purple Noon leaves much for the audience to interpret, a rarity in films. The film's visual storytelling, such as the scene where Tom sees dead fish or a door with a mirror swings open towards him, allows viewers to infer significance without explicit explanations.

So yeah, mesdames and monsieurs, we all know it now, fourth dan black belt film noir fans and French cinema-philes alike Purple Noon is a masterful thriller that captivates audiences with its brilliant performances, innovative direction, and stunning cinematography. Delon's portrayal of Tom Ripley, combined with Clément's direction, creates an unforgettable film that explores themes of identity, ambition, and moral ambiguity. 

While the adaptation differs from Highsmith's novel, it stands on its own as a classic in the thriller genre, showcasing the talents of its cast and director.

Purple Noon (1960)

Directed by René Clément

Genres - Crime, Drama, Thriller  |   Release Date - Mar 10, 1960  |   Run Time - 118 min.