Purple Noon (1960) dir. René Clément

#152

Plein soleil (Purple Noon) - 1960, dir. René Clément

Purple Noon (1960) directed by René Clément

Plein soleil, 1961. Illustration de Jean Mascii.

Avec Alain Delon, Marie Laforêt, Maurice Ronet. Réalisé par René Clément.

Synopsis : Mandaté par un riche américain, M. Greenleaf, Tom Ripley a pour mission de convaincre Philippe, le fils prodigue de ce dernier, de quitter l'Italie et ses vacances prolongées aux côtés de sa compagne Marge, pour revenir à San Francisco. Rapidement, Tom s'immisce dans la vie du couple, devenant l'assistant personnel de Philippe. Ce dernier l'entraîne dans ses péripéties, tout en ne manquant pas de lui témoigner du mépris.

Purple Noon (1960) dir. René Clément

Which version of this do you prefer?

'Joy House' (1964) film

-watched 5/30/2023- 2 [3/4] stars- on Amazon Video ($)

En regardant “Plein Soleil” de René Clement ce matin.

Joy House (Les félins) (The Love Cage) (1964) René Clément

May 2nd 2022

Purple Noon (1960) Film Review B+

DIRECTOR: Rene Clement BOTTOM LINE: The first adaptation of Queer author Patricia Highsmith’s 1955 novel “The Talented Mr. Ripley” covers the same ground as the titular 1999 Anthony Minghella version. Gay sociopath Tom Ripley (an almost impossibly beautiful Alain Delon in his movie debut) kills and then assumes the identity of the wealthy and spoiled Dickie Greenlief (Maurice Ronet). Although it…

View On WordPress

PURPLE MOON:

Tom Ripley, moocher

Befriends a rich layabout

Schemes to gain his life

Paris brûle-t-il?, René Clément, 1966

Lewis Gilbert's The Greengage Summer (1961) seems something of a 'rear-guard' film, interested by the New Morality and its appearance among the upper-middle-class young, but not quite able to bear the shock of shifting its own perspectives. One might oppose it to Knave of Hearts and Waltz of the Toreadors in its confrontation of French naughtiness with English innocence. An English Rose (Susannah York), holidaying in France with her younger sister (Jane Asher), falls in love with another guest at the hotel (Kenneth More), despite his involvement with the manageress (Danielle Darrieux). When he gently and considerately rebuffs her, she toys with the idea of acquiring experience via the boot-boy. All this is in beautiful, glowing tints which evoke a spring time innocence - until the actual seduction scene, when she screws herself to the sticking point with the frantic absorption of whisky and nicotine. It's all very suspenseful because he's a pretty unpleasant boot-boy, slimy and embittered, and she's so sweet. She survives temptation, as so nice a girl was bound to do, but the film runs true to traditional form when the boot-boy charges into her room at midnight to rape her, and falls from a window to his accidental death, while knight-errant Kenneth More, who had meanwhile turned out to be a dashing jewel-thief, sacrifices his chance of escape so as to dispose of the corpse in a nearby river for her, and ends up under arrest, which proves that he loved her after all, and in the right British way, an avuncular and sexless one.

Raymond Durgnat, A Mirror for England