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Tom Ripley is sent to Europe by Mr. Greenleaf to fetch his spoiled, playboy son, Philippe, and bring him back home to the States. In return, Tom will receive $5,000. Philippe toys with Tom, pretending he will go back home, but has no intentions of leaving his bride to be, Marge, and honoring his father's wishes. After some time passes, Mr. Greenleaf considers the mission a failure and cuts Tom off. Tom, in desperation, kills Philippe, assumes his identity, and lives the life of a rich playboy. However, he will need all his conman abilities to keep Philippe's friends and the police off the trail.
Source : IMDb
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), 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."
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). 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." 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."
Highsmith's opinion of the film was mixed: she felt that Alain Delon was "excellent" in the role of Tom Ripley, and described the film overall as "very beautiful to the eye and interesting for the intellect." However, she criticized the ending in which Ripley is implied to be caught by the police: "It was a terrible concession to so-called public morality that the criminal had to be caught."
Source : Wikipedia
January 15, 2015
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