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

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Overview

User Rating:
7.8/10   7,083 votes »
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Director:
Writers:
Patricia Highsmith (novel)
René Clément (adaptation) ...
(more)
Contact:
View company contact information for Purple Noon on IMDbPro.
Release Date:
10 March 1960 (France) See more »
Genre:
Tagline:
Passion at ten. Envy at eleven. Murder at noon.
Plot:
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:
Awards:
1 win See more »
NewsDesk:
(52 articles)
Interview with Liam Gillick about Exhibition
 (From eyeforfilm.co.uk. 28 July 2014, 7:38 AM, PDT)

Blu-ray, DVD Release: L’eclisse
 (From Disc Dish. 28 March 2014, 2:03 PM, PDT)

Colcoa reveals classics line-up
 (From ScreenDaily. 19 February 2014, 11:23 AM, PST)

User Reviews:
Clément's camera is always in some unexpected place that enhances the drama and tightens the suspense; Alain Delon makes an excellent Tom Ripley See more (53 total) »

Cast

  (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)
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Directed by
René Clément 
 
Writing credits
Patricia Highsmith (novel "The Talented Mr Ripley/Monsieur 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
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Additional Details

Also Known As:
"Plein soleil" - France (original title)
"Lust for Evil" - USA (reissue title)
See more »
MPAA:
Rated PG-13 for momentary violence and sexuality
Runtime:
118 min | Argentina:115 min | France:115 min | Hungary:110 min
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Certification:
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?

Trivia:
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 »
Goofs:
Continuity: Alain Delon's belt goes over the middle belt loop on the back of his white Levis about eight minutes into the film. A couple of minutes later, the belt goes through the loop, though the action was continuous, with no possibility of him having removed his belt to correct this fashion fumble.See more »
Movie Connections:
Referenced in Serial Mom (1994)See more »

FAQ

Is Tom Ripley caught?
What's with the food?
Are the characters French or American?
See more »
39 out of 41 people found the following review useful.
Clément's camera is always in some unexpected place that enhances the drama and tightens the suspense; Alain Delon makes an excellent Tom Ripley, 6 March 2007
Author: J. Spurlin from United States

I'm fascinated by a scene at a restaurant. We get an extreme close-up of a woman who is kept out of focus while another character in the background, who is speaking and is in the center of the shot, remains in focus. Is the woman who is out of focus important or not? More to the point, was shooting it this way a good idea? It illustrates by contrast how sure-footed René Clément is most of the time. Usually there can be no debate.

I wasn't familiar with Clément's work until this film, but my God, he's good. His camera is always in some unexpected place that enhances the drama and tightens the suspense. He shares that talent with Orson Welles (meaning the Welles of "Citizen Kane" and "The Magnificent Ambersons," not, say, "Lady from Shanghai"), who also made decisions that are surprising yet invariably right.

Tom Ripley (Alain Delon) and Phillipe Greenleaf (Maurice Ronet) are lately inseparable friends. They're both idling in Europe, but on papa Greenleaf's dime. Phillipe's fiancée Marge (Marie Laforêt) feels sorry for Tom but resents his presence. Phillipe's other friend, Freddie (Billy Kearns), considers Tom Ripley a worthless moocher. But there's more to Tom Ripley, the mimic, the forger, the talented criminal improviser, than anyone, even Tom Ripley himself, can guess.

Alain Delon, with his chiseled looks and cold beauty, makes an excellent Tom Ripley. The script is brilliantly adapted from Patricia Highsmith's terrific suspense novel, "The Talented Mr. Ripley": the dialogue is always bringing the themes of duplicity, love, self-love, the nature of identity, ruthlessness and murder to the surface where they are given a brilliant sheen by Clément and his cinematographer Henri Decaë.

We're left to figure things out for ourselves, which is rare. Do we need to be told what Tom thinks of when he sees all those dead fish? When a door with a mirror swings open toward Tom, do we need to see Tom's mirror image to understand the mirror's significance? Or is it enough that we know there's a mirror next to Tom? I know what the answers would have been in Hollywood—in 1960 and now. Here, the answers are no, no and yes.

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