7.8/10
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66 user 96 critic

Purple Noon (1960)

Plein soleil (original title)
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.

Director:

René Clément

Writers:

Patricia Highsmith (novel), René Clément (adaptation) | 1 more credit »
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Cast

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

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. However, he will need all his conman abilities to keep afloat. Written by Humberto Amador/Peter Brandt Nielsen

Plot Summary | Plot Synopsis

Taglines:

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

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated PG-13 for momentary violence and sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Italy

Language:

French | Italian | English

Release Date:

10 March 1960 (France) See more »

Also Known As:

Lust for Evil See more »

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Box Office

Gross USA:

$618,090
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

Italian censorship visa # 32268 delivered on 6-7-1960. See more »

Goofs

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 »

Quotes

Tom Ripley: That'd be naughty of you.
See more »

Connections

Referenced in Serial Mom (1994) See more »

Frequently Asked Questions

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User Reviews

 
The Riveting Mr. Ripley
6 March 2007 | by alainbenoixSee all my reviews

I saw Minghella's "The Talented Mr. Ripley" and Clement's "Purple Noon" back to back. Two entirely different movies based on exactly the same book. The differences are personal of course. Minghella has a moralistic view of his characters and their darkness must be, somehow, explained if not justified. Clement's allows the amorality of his characters to run loose. Minghella casts Matt Damon as Tom Ripley, a rather invisible actor in every way and although he's pretty good here, he's not good enough to overshadow his rival: Jude Law. Clement casts Alain Delon as Ripley and you will be with him all the way, you'll go where he goes you will turn out to be as amoral as he is - at least I did, I just wanted him to get away with it and why? Because he was Alain Delon, the Tom Ripley that, clearly, Patricia Highsmith intended. His rival is Maurice Ronet, good as he is, I didn't miss him when he left. You know why? Because I was left with the dangerous, magnetic, amoral, riveting Alain Delon. Clement allows us to see the difficulty and danger of the murders, we see them, we are there. Minghella plays it rather hurriedly. There is no real tension or horror. The most suspenseful moment is at an Opera house. The pluses on "The Talented Mr Ripley" - besides the aforementioned Jude Law - are Gwyneth Paltrow and Cate Blanchett in two beautifully written and performed parts. In "Purple Noon" Marie Laforet is left rather to her own devices. Once all said and done you can watch both films as if they weren't even related. I prefer "Purple Noon" but that's just me.


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