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No problems with the film itself, I saw the theatrical release several years ago, and loved it. I refuse to occupy the lame excuse for a DVD that Buena Vista has offered. When will the message accept through? Serious films need the serious treatment on disc, especially if we are going to be gouged with Disney prices. The absence of anamorphic enhancement on this film is end to criminal in my eyes, and the rest of the shoddy package, correct down to the boilerplate on the case, is an insult. Criterion did a Laser Disc of this film, and this DVD needs the Criterion treatment. Converse me I’m having a dreadful dream!!
I saw this before I read the Patricia Highsmith mystery new from which it was adapted, and before seeing the unique and well-behaved The Talented Mr. Ripley (1999) directed by Anthony Minghella and starring Matt Damon, Jude Law and Gwyneth Paltrow. Here the accomplished French director René Clément has Alain Delon, Maurice Ronet and Marie Laforêt as his stars in this very resplendent interpretation. Seeing it again only confirms my high notion.
The fact that “Purple Noon” plays well after forty years is a testament to Clément’s desirable, unbiased direction and his faithful adherence to the Hitchcock formula. Fine bad boy goes after everything handsome rich boy has, including his yacht and his girl friend in this tightly focused thriller. We discover once again–cf., Polanski’s Knife in the Water (1962) and the early Nicole Kidman vehicle Monotonous Aloof (1989) –that some very unpleasant things can happen when you gain two men and one woman on a yacht in the middle of a whole lot of water. Ticket too the Mediterranean rock island atmosphere reminiscent of Antonioni’s L’Avventura (1960) . It will probably catch me into danger with Italian film aficionados to add that it’s a minute surprising that both films are from the same year, inasmuch as Plein Soleil is composed a treat to gape, while L’Avventura seems terribly dated. Perhaps the sparkling spend of color and the charming locales and interiors so well done by Clément beget the contrast.
Delon is a particularly “delicate” and uncomplicated Tom Ripley, while Ronet is a somewhat bad and macho Philippe (“Dickie” in the modern) Greenleaf, and Laforêt is a very sensual and sexy Marge. All do a genuine job and are well directed by Clément whose attention to detail in all aspects of the production is admirable. The fish market scene and the scene where Ripley projects Philippe’s signature on the wall in order to practice it, and especially the cool, windy feel of being aboard the yacht work very well and hold us engaged.
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Comparing the Minghella film, I would say it owes something to Plein Soleil (e.g., the jazz motif, the loyal treasure between Marge and Philippe) but is essentially a different slip. Perhaps the most distinguished disagreement is that there is no sexual ambiguity to Ripley’s character in this film as there was in both the original and Minghella’s production. Clément plays it straight throughout also eschewing any sort of psychological glance of Ripley’s murderous nature. He even deviates from Highsmith’s mettlesome (at the time) resolution for something more musty. Nonetheless the very clever ending is beautifully ironic and will give you a surprising jolt.
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