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Plein soleil
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Purple Noon (1960) More at IMDbPro »Plein soleil (original title)

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Purple Noon -- This ripe, colorful adaptation of Patricia Highsmith's vicious novel The Talented Mr. Ripley, directed by the versatile René Clément, stars Alain Delon as Tom Ripley, a duplicitous American charmer in Rome on a mission to bring his privileged, devil-may-care acquaintance Philippe Greenleaf (Maurice Ronet) back to the United States.


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Up 15% in popularity this week. See why on IMDbPro.
Patricia Highsmith (novel)
René Clément (adaptation) ...
View company contact information for Purple Noon on IMDbPro.
Release Date:
10 March 1960 (France) See more »
Passion at ten. Envy at eleven. Murder at noon.
Tom Ripley is a talented mimic, moocher, forger and all-around criminal improviser; but there's more to Tom Ripley than even he can guess. Full summary » | Full synopsis »
Plot Keywords:
1 win See more »
User Reviews:
Delon shows his stuff! See more (54 total) »


  (in credits order) (complete, awaiting verification)

Alain Delon ... Tom Ripley

Maurice Ronet ... Philippe Greenleaf
Marie Laforêt ... Marge Duval
Erno Crisa ... Riccordi
Frank Latimore ... O'Brien
Billy Kearns ... Freddy Miles (as Bill Kearns)
Ave Ninchi ... Signora Gianna
Viviane Chantel ... The Belgian lady
Nerio Bernardi ... Agency Director
Barbel Fanger
Lily Romanelli ... Housekeeper
Nicolas Petrov ... Boris
Elvire Popesco ... Mrs. Popova
rest of cast listed alphabetically:

René Clément ... Le serveur maladroit (uncredited)
Jacqueline Decaë ... Ingrid (uncredited)
Walter Grant ... Bit (uncredited)
Paul Muller ... Blind Man (uncredited)

Romy Schneider ... Freddy's companion (uncredited)
Nino Vingelli ... Bit (uncredited)
Leonello Zanchi ... Un inspecteur de police (uncredited)

Directed by
René Clément 
Writing credits
Patricia Highsmith (novel "The Talented Mr. Ripley")

René Clément (adaptation and dialogue) &
Paul Gégauff (adaptation and dialogue) (as Paul Gegauff)

Produced by
Raymond Hakim .... producer
Robert Hakim .... producer
Goffredo Lombardo .... producer
Original Music by
Nino Rota  (as Nino Rotta)
Cinematography by
Henri Decaë 
Film Editing by
Françoise Javet 
Production Design by
Paul Bertrand 
Costume Design by
Bella Clément 
Makeup Department
Louis Bonnemaison .... makeup artist
Production Management
Piero Cocco .... production manager
Roberto Cocco .... unit production manager
Alfredo Salvati .... production supervisor
Second Unit Director or Assistant Director
Alberto Cardone .... assistant director
Pierre Zimmer .... assistant director
Art Department
Bruno Avesani .... assistant art director
Raymond Lemoigne .... property master
Eugène Roman .... assistant art director
Sound Department
Gilles Barberis .... audio restorer
Jacques Carrère .... sound mixer
Marcel Corvaisier .... boom operator
Jean-Claude Marchetti .... sound
Maurice Rémy .... sound recordist
Camera and Electrical Department
André Bouladoux .... key grip
Jean Rabier .... camera operator
Jean-Paul Schwartz .... assistant camera
Editorial Department
Madeleine Lecompere .... assistant editor
Hadassa Misrahi .... assistant editor
Maryse Siclier .... assistant editor
Walter Spohr .... assistant editor
Music Department
Jacques Métehen .... conductor
Other crew
Maurice Binder .... title designer
Christopher Gambale .... assistant to harvey weinstein
Jean Guélis .... choreographer
Yvette Vérité .... script supervisor (as Yette Vérité)
Sébastien Cauchon .... press attaché: 2013 re-release (uncredited)

Production CompaniesDistributorsSpecial Effects

Additional Details

Also Known As:
"Plein soleil" - France (original title)
"Lust for Evil" - USA (reissue title)
See more »
Rated PG-13 for momentary violence and sexuality
118 min | Argentina:115 min | France:115 min | Hungary:110 min
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Argentina:13 | Australia:PG | Finland:K-16 | Finland:K-15 (re-rating) (2001) | France:U (with warning) | Iceland:L | Italy:T | Japan:G (2009) | UK:PG | USA:PG-13 | West Germany:16

Did You Know?

Author Patricia Highsmith, on whose novel "Plein soleil" was based, expressed satisfaction with the film, which she called "very beautiful to the eye and interesting for the intellect," and with Alain Delon's performance as Tom Ripley. She was, however, disappointed with the film's ending, calling it "a terrible concession to so-called public morality."See more »
Continuity: The position of the boom on the sailboat.See more »
Movie Connections:
Referenced in Coming Apart (1969)See more »


Is Tom Ripley caught?
What's with the food?
Are the characters French or American?
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33 out of 35 people found the following review 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."

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American and French codyhoskins
should I watch this or the Matt Damon version first? Kenny-f-bieber
Cinematography takes the cake SurrenderToto
Eyes the doorway to the soul? Tin_ear
Film locations? deedee2005
Criterion PURPLE NOON Blu Ray edition barrywood
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