Plein soleil

Plot synopsis:
In Rome, we see Philippe Greenleaf (Maurice Ronet) and Tom Ripley (Alain Delon) at a cafe table together; Tom is writing postcards. They chat about Philippe's girlfriend Marge, who he is having trouble with. Philippe gets up when he sees his friend Freddy (Billy Kearns) and invites him to join them. When Tom is away at a bookstore Philippe tells Freddy that Tom has admitted that it was Philippe's father who had Tom go to Italy to bring Philippe home to America with the promise of a handsome reward. Philippe has no intention of going. Freddy is uneasy about Tom and soon leaves; Philippe has Tom pick up their tab. As they walk down the street Philippe bumps into a blind man. He gives him money, then on Tom's suggestion buys the blind man's cane and gives him money for the taxi home. When Philippe pretends to be blind and stumbles into a car, a young woman takes pity on him and guides him across the street, and she ends up spending the evening with both men in a horse carriage, only later discovering that Philippe is not blind. Full of laughter, she buys the cane and has the carriage stop so she can try walking like a blind woman; she asks them to wait for her, but they instead proceed to a night club. Meanwhile Tom has seen fit to steal some of the lady's jewelry.Next, Philippe and Tom arrive by boat in the coastal town of Mongibello, where Philippe lives. At a local ballet company pre-premiere nerves are on; we see Philippe and Tom bring back a drunken man, O'Brien (Frank Latimore), the company director. Then they pay a visit to the guitar-playing, Fra Angelico-studying Marge (Marie Laforêt), who is upset with Philippe for leaving town for several days. They soon make up on the sofa, while Tom goes to the next room, discovers some of Philippe's clothes and puts them on. He looks into the mirror and pretends to be Philippe, but is interrupted by Philippe at the door. Later when Philippe is on his way to the bank for a cash withdrawal, Tom comes to him with a letter from Philippe's father, who is disappointed that Philippe does not seem intent on returning home and consequently discontinues his financial arrangement with Tom. Tom seems haunted and begs Philippe to go to San Francisco so he can get his hands on his father's money.Philippe, Marge and Tom go on a sail boat to join Freddy at Taormina. It's high summer, the sun is hot and the ocean is blue. During a meal Tom talks about how he used to adore Philippe when they were kids, and how Philippe's father didn't want them to be together because Tom wasn't of good enough family. Philippe sends Tom to the steering wheel while he and Marge have some time alone, but Tom overhears Philippe saying to Marge that he is not fond of Tom and that they will soon leave him behind so they can be alone. Tom is upset and deliberately makes the boat shake. Philippe comes up and, faking concern for the boat, tricks Tom into the safety boat, which he lets float after the ship, and retires to the cabin. But the rope breaks, and Tom drifts off. When Philippe discovers this he sets out to find Tom, and he and Marge bring the sunburned Tom aboard again. When Marge blames Philippe for treating his friend in this way he says that in fact he and Tom never spent their childhood together. When Philippe looks for a shirt among Tom's things he discovers some of his own bank statements hidden, though he keeps his discovery from Marge. Marge asks Tom to leave them behind and go home when they reach land.One night, we see Tom hide the earrings he stole earlier in the pocket of some of Philippe's clothes. The next day the two men have a conversation about the bank statements, and Philippe guesses that it might have been Tom's intention to pretend to be Philippe and claim his money as his own. Philippe and Marge have a row involving the earrings Marge has found among Philippe's clothes, and when Philippe tosses her Fra Angelico writings into the ocean she demands to be set ashore. Philippe and Tom continue alone. They continue their conversation about the bank statements, and Tom details how he would have killed Philippe to claim his money, and admits that he planted the jewelry. Philippe is repulsed and fascinated by Tom's behaviour. The two men play a hand of poker; Philippe wagers money, Tom the pocket watch Philippe's father gave him. When Tom discovers that Philippe tries to cheat in order to lose, Tom is upset. He says a few thousand dollars is no longer enough when he might have it all. He decides the game in Philippe's favour and stabs him in the chest as Philippe screams, "Marge".Tom Ripley must struggle with the boat against the wind, but he covers Philippe's body in a sack, then ties it to the anchor and dumps it. He accidentally falls in himself, but struggles back onto the boat and steers the boat to harbour in Mongibello. He goes to visit Marge, claiming that Philippe does not want to see her again. He collects some of Philippe's items from the house and from the boat. Claiming to be Mr. Greenleaf he goes to a boating agency to sell the boat, then leaves for Rome. There he buys equipment to fake a passport and learns how to convincingly fake Philippe's signature. He speaks to Marge on the phone, successfully convincing her that she is speaking to Philippe. He types Marge a letter and brings it personally to Marge. She takes him with her to Naples to show him the city. While she writes a letter to Philippe at a cafe, he takes a walk and looks at the market stalls. Back at Tom's hotel in Rome, he must escape notice from Madame Popova (Elvire Popesco), who knows Philippe from Mongibello; he soon gets an apartment for himself. Philippe's friend Freddy comes to visit after learning about the address and is suspicious when he finds Tom there wearing Philippe's clothes. Tom comes to see Freddy as a threat to his secret and gives him a fatal blow with an antique statuette. At night when the building is quiet he carries the body down the stairs and into the street where his car is waiting to help him dump the body. Soon after he is about to leave the apartment behind when the police come by; he narrowly escapes in a taxi. He goes straight to the bank to withdraw a large sum from Philippe's account, then telephones the apartment identifying himself to the police as Tom Ripley and desiring to speak to Philippe. A police officer, Riccordi (Erno Crisa), comes to Tom's pension to question him about the murder in which Mr. Greenleaf is a suspect, but Tom is, of course, unable to help.The next day Tom is present at the morgue to identify Freddy's body, along with Marge and others. They go to a restaurant and discuss Philippe's whereabouts, though they all believe him to be innocent. While at the table, Tom almost slips up when he quotes one of the letters Marge has written to Philippe, but he comes up with a lie and says that he met with Philippe the day before, and that Philippe is now in Mongibello. As soon as he can Tom travels to Mongibello to make it appear as if Philippe has been there and left a suicide note, the money Tom withdrew and a will leaving all the money to Marge. He leaves the house through a window just as Marge enters with the police. Back in Rome the next morning, Riccordi comes to Tom's pension room to ask him questions and reveal certain suspicions, but without result. Next, Tom is back in Mongibello, coinciding with a religious festival. He knocks on Marge's door, but there is no answer, and when he visits Mr. O'Brien and Madame Popova they tell him they have not seen her for weeks. The next morning Tom finds a way into the house and finds Marge still in mourning over Philippe's death. He tries to convince her that Philippe did not truly love her. He announces that he will return to America and kisses her goodbye, but she stops him and asks him to stay. He has her play the guitar for him, and we see the two in bed together.One day soon after, Tom and Marge go swimming. Philippe's father comes to town to meet Marge and sell Philippe's boat. Tom stays by the beach while Marge goes to meet him. When they investigate the boat, they discover that from a rope tangled in the engine hangs the rotten corpse of Philippe Greenleaf. The police come to the beachside cafe and have the waitress call Tom Ripley to the telephone. As Tom goes to take the call, he smiles to himself.

Tags: murder

Review:
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?
Clément's camera is always in some unexpected place that enhances the drama and tightens the suspense; Alain Delon makes an excellent Tom Ripley.
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.
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.
Alain Delon and Maurice Ronnet play a fascinating duet of savage cruelty in this tense beautifully crafted Rene Clement thriller from Patricia Highsmith's pen.
Anthony Minghella remade it as "The Talented Mr Ripley" with a more polished script and some startling character development but "Purple Noon" has an unbeatable extra gear in Alain Delon's portrayal.
Purple Noon with Alain Delon, Maurice Ronet,and Marie Laforêt, is the chilling original to The Talented Mister Ripley.
This original of The Talented Mr. Ripley is far different from the more recent movie, with Delon being more believable as Tom Ripley, his unbelievably handsome face hiding an evil mind, willing to do whatever it takes to trade places with Philippe Greenleaf.There are some gratuitous shots here for 1960, and I wasn't real impressed with Maurice Ronet,who seemed too old for the part of Philippe, but on the whole, an enjoyable experience with great plot development and cinematography.
Tom envies his friend's easy life and also his pretty girlfriend Marge Duval who sails along with them and finally he kills Philippe and takes his place as a rich man by achieving the sinister and carefully plan he has developed with such purpose.
Things get complicated for the killer from then on but he manages to go on with his profitable impersonation and sentimental approach to the dead man's girlfriend.The film is skilfully handled by director René Clement and interest doesn't fall till the end, the colorful and beautiful Italian coast on the Mediterranean sea brings a great background to the story and the final sequence when Tom's perfect plan is spoiled is excellent and memorable.Alain Delon renders one of his best performances ever as the resentful and no scruples Tom, well supported by Maurice Ronnet as Philippe and Marie Laforet as Marge.
The three leads (Alain Delon, Maurice Ronet, and Marie Laforet) are all convincing in their roles.I have not read the Highsmith novel on which the screenplay was based.
Rene Clement's "Plein soleil" offers a young Alain Delon as Tom Ripley, a character known to more recent audiences as the hero of the Anthony Mingella 1999 "The Talented Mr. Ripley."  It is nice to note that both films hold their own well, with the Mingella providing more character and background information than the Clement version.Delon, who was to become a favorite actor of Visconti and other fine French and Italian directors, renders a skillful performance, along with Maurice Ronet as Phillipe Greenleaf (known as "Dickie" in the later Mingella opus).
Although Anthony Minghella's "The talented Mr. Ripley" (1999) seems to be closer to Patricia Highsmith's novel, I must say that "Plein soleil" ("O sol por testemunha", its title in Brasil) is far more enjoyable for itself.The atmosphere is sublime and the setting nothing but wonderful.
Alain Delon stars as Tom Ripley in "Purple Noon," an adaptation of the Patricia Highsmith novel "The Talented Mr. Ripley." There is another filming of the same book in 1999 starring Matt Damon, Jude Law, and Gwyneth Paltrow, which I didn't care for.Patricia Highsmith was happy with all of this film except for the ending, which differs from her book, the first of a series.
Delon is one of the great matinée idols, really at the height of his fabulous looks here.Unlike the Minghella version, which I found preposterous, this story makes more sense and becomes absolutely riveting once Ripley gets rid of his rival Philippe Greenleaf (Maurice Ronet) and steals his identity.
The camera work is excellent throughout and a little unusual.I, too, did not care for the ending, which was not Highsmith's.One thing i've never bought about this story is the fact that Ripley hung around the same area as Marge and Philippe's friends after becoming him.
Though I still don't understand it, it was easier to take in this film.Like the Minghella version, Purple Noon is glorious to look at, with a more European flavor than The Talented Mr. Ripley.
Sun-swept adaptation of Patricia Highsmith's novel "Monsieur Ripley" involves two French playboys in Rome--one a millionaire's son, the other a ne'er-do-well who worships money and the people who have it--who come to an impasse at sea, resulting in tragedy and an elaborate cover-up.
The film's American counterpart, 1999's "The Talented Mr. Ripley", played up the thriller aspects of Highsmith's story, while Clément is more interested in letting the scenes unfold through careful pacing and detail.
Purple Noon (1960)It might be hard to see "Purple Noon" with the eyes of someone in 1960, when it was released, especially if you have seen the other famous movie based on the same book, the 1999 "The Talented Mr. Ripley." But in fact they are rather different films, even though a few scenes are quite similar.
It's worth avoiding too much of that "which is better" comparison by remembering that the early film is distinctive as it spends much of its time as a kind of elevated mind game between to very good looking young men.
It's Jude Law in the later film who is the pretty boy, playing Mr. Greenleaf, and in the earlier French version we have Maurice Ronet, who at least has the advantage of looking a lot like Delon.There are some weird flaws in "Purple Noon." One I couldn't accept at all was when Ripley calls Greenleaf's girlfriend, Marge, pretending to be Greenleaf, and Marge can't tell the difference.
If you've seen the Damon/Law version of the two main characters here in action, you should enjoy the contrast of Delon/Ronet in the same roles.
In scenic Italy, criminally handsome Alain Delon (as Tom Ripley) has become friendly with hedonistic Maurice Ronet (as Philippe Greenleaf).
Although it drifts too far from the source, this version still rocks the boat.********* Plein soleil (1960-03-10) Rene Clement ~ Alain Delon, Maurice Ronet, Marie Laforet, Billy Kearns.
Tom Ripley (Alain Delon) is a handsome and unassuming young man that hides a dark secret, he's a talented forger, impersonator and all round conman and opportunist.
I guess the better known adaptation of Patricia Highsmith's Mr Ripley novel these days is Anthony Minghela's The Talented Mr Ripley, which is a shame as this is a super version of the story.
Ripley is a despicable character is many ways, but because its Delon playing him, this viewer was almost rooting for him to succeed and get way with his dastardly plan, its hard not to take to him as he sits astride a yacht, bronzed body, wind blowing in his hair like some Greek God returning to Olympus, its only his blood stained hands that blows this myth.
Rene Clement's 1960 adaption of the Patricia Highsmith cult novel "The Talented Mr. Ripley" is like a Hitchcock film, made in Italy.
The story is about a Mr. Thomas Ripley (a miscast Alain Delon) who is sent from San Francisco (in the book it was New York) to retrieve a millionaire's son Philippe (in the book it was Dickie) Greenleaf (well acted by Maurice Ronet) from his leisure life of boating in Italy.
In the book, you tend to see through the eyes of Tom Ripley and can easily justify (like he does) the crimes he commits as a necessary evil to get where he needs to go.This is what "Purple Noon" is great about capturing, and where the remake kind of fails (though don't get me wrong, I quite love the remake as well).
There are good performances from Laforet, in her film debut, and Ronet, but this is Delon's movie.
I liked PLEIN SOLEIL but as with the recent THE TALENTED MR RIPLEY film, this early French adaptation of Patricia Highsmith's book is still not right and the perfect Tom Ripley film has yet to be made.
But even with all these faults, PURPLE NOON is light years better than the Matt Damon/Minguella crappy production (see my IMDB review) and it is one of the best looking films I've ever seen.
It must be said that Delon was a bit too pretty to accurately portray Tom Ripley, and while I thoroughly enjoyed the cinematography, the mood ended up far different from the novel.
Mr Ripley was played by a Alain Delon so good looking that I wouldn't care if he took Mr Greenleaf life.
This is the original: actors Alain Delon, Marie Laforet and Maurice Ronet young and beautiful, the amazing South of France settings, the twist in the story.
This is the first version of Highsmith's "the talented Mister Ripley".I have not seen  the new film yet and I will avoid any comparison.
Clement's work is awesome:he teamed two ideal actors,Alain Delon and Maurice Ronet,the former playing a life-lover but broke guy and the latter a rich one.He directed anthology scenes as that of the murder of Ronet on the boat.For the second murder-the big fat American- Delon had to carry the body all down the way to the car.His sweat was not a fake one!Delon is impressive as well, when,after having killed Ronet,he begins to take his victim's personality to latch on to his dough.Henri Decae's photograph is also an asset.
For the people who read the book,there are a lot of differences though: the brunette Marie Laforet is not Marge at all,neither physically(G.Paltrow seems a better choice),nor intellectually .In Highsmith's novel she's a bubblehead girl,whose main obsession is not to lose her lover in favor of Ripley whom she suspects of being a fag:he is not,in the book either,he may be bisexual,but Highsmith remains ambiguous.As for Clement,in France of the late fifties,it was impossible to allow some doubt:hence the love affair with Marge,totally absent in the novel(Ripley despises Marge,he nearly tries to kill her ).But the main difference is the ending:Ripley takes all the money and run in the book,but then again,a "moral" ending" was necessary on the screen.I will not spoil this conclusion,that packs quite a wallop!.
Too often people are reacting to adaptations as if they should follow the mind of a reader, or rather ANY reader of the novel, although any film enthusiast know that a so-called faithful adaptation almost always will make a lousy movie.Hitchcock was one of the first directors to point this out, and he had in fact some experience with Patricia Highsmiths material (Strangers on a Train (1951) and an episode of "The Alfred Hitchcock Hour" called "Annabel", although the latter not directed by him, but by Paul Henreid).
Tom Ripley (Alain Delon) is a talented mimic, moocher, forger and all-around criminal improviser; but there is more to Tom Ripley than even he can guess.Roger Ebert gave "Purple Noon" three stars (compared to the four-star review he gave to the 1999 version of "The Talented Mr. Ripley"), writing that "the best thing about the film is the way the plot devises a way for Ripley to create a perfect cover-up".
"Purple Noon" (1960, original title "Plein soleil") is French director Rene Clement's take on Patricia Highsmith's "The Talented Mr. Ripley".
Highsmith's novels have been favored by a number of international directors, including Hitchcock and Wenders and more recently Minghella's own attempt to get at Mr. Ripley.There is much to like about this movie visually.
Alain Delon plays Tom Ripley- a petty criminal who entraps a rich man, kills him and takes his place.
The film is based on the Patricia Highsmith novel and anyone who has seen the American films based on the Ripley books will know that everyone from Matt Damon and John Malkovich to Dennis Hopper has played the psychopathic character- each with their own unique interpretation.
The film is based on the Patricia Highsmith novel and anyone who has seen the American films based on the Ripley books will know that everyone from Matt Damon and John Malkovich to Dennis Hopper has played the psychopathic character- each with their own unique interpretation.
A tale of murder, lust and homosexual undertones (some of the interplay between actors Alain Delon and Maurice Ronet is crackling with sexual feelings).The movie is one of the most beautiful I've ever seen.
Having seen the remake version of 'The Talented Mr. Ripley' first several years ago when it came out and now seeing the original adaptation, I must say that both have their pluses and minuses.'Purple Noon' has the problem that it jumps right into the story, rather than building up Tom's background, as the latter version did.
Delon was absolutely smothering hot as Tom Ripley, a gorgeous psychopath who is intent on taking over the life of his friend, Dickie Greenleaf, his money and his girl.
Film is loosely based on the 1955 novel "The Talented Mr. Ripley" by Patricia Highsmith.A mysterious young man has been sent to Italy to persuade his wealthy acquaintance to return to the United States and take over his father's business.
I'll bet that many fans of Anthony Minghella's excellent The Talented Mr. Ripley never watched René Clément's Purple Noon, the first cinematic adaptation of Patricia Highsmith's novel.
Few situations invoke tension and fear like the illusive peacefulness of the sea because, as Clémént shows, nature doesn't choose sides and can quickly become an obstacle to a well-planned murder.Alain Delon, younger than I've ever seen him in a movie, plays Tom Ripley.
The movie eschews the study of identity and class differences and makes Ripley a more traditional murderer, who kills a man for money and for a girl.The character of Marge (Marie Laforêt) gives to the movie little other than her beauty and a reason to pit between Tom against Philippe.
Years later I would read Highsmith's "Talented Mr. Ripley" and realize that, the screenplay of the movie had some fortunate differences from the book.
I like Minghella's recent version of "Talented Mr. Ripley" much less than the Highsmith's book and Clement's film version of it.
When the snoopy friend of Phillipe, Freddy Miles (Bill Kearns), chases Phillipe, Tom Ripley feels pressed and also kills Freddy, using Phillipe as escape goat for the murder and Marge to reach Phillipe inheritance.The cult "Plein Soleil" is the movie that projected the great French actor Alain Delon to the world.
His easiness in Ripley's role is amazing;dressed up,dogged and sharp.Yes,but how almost equally good is the rest of the cast!And Delon is seconded by the upbeat and ambiguous,easy-going,cruel and injudicious "Philippe" and the hearty "Marge".The sordidness of the facts is intact.As narrative,Full Sun is a wonder of economy.There is a powerful stream of fresh eroticism,beginning with the fat and lovely blonde picked out by the two friends,Tom and Philippe.The violence and insanity are of a Hitchcockian precision and force.These are the innards of violence and iniquity.And these are the artistic things as one would like to see them always.The execution is flawless and the showmanship is impressing.How interesting and thrilling this movie is,how well narrated.The score is fine and the photography is physically delighting.The movie is a feast for the intelligence.On the other hand,this kind of algebra is the product of a lively perspicacity.For the connoisseurs,Full Sun is matchless.And one of the best movies of the '60s.As such,it reunites these three privileges:to be one of the best ten thrillers ever;to offer Delon's best role;to be one of the very best '60s movies.The atmosphere is one of the main kudos of this suspenseful and lapidary film.Its director did know cinema.For me,Full Sun was an astounding experience :one of those films that are so good that surpass all previous expectations.So,movies do not have to be stupid,clumsy and trite and insipid;on the contrary,Full Sun shows how they ought to be always:bright and beautiful,of a striking beauty,with much gusto and having something to say and straightforward..
Patricia Highsmith's intelligent thriller, The Talented Mr. Ripley, first introduced us to Tom. He was poor then but willing to be rich.
Rene Clement's Plein Soleil (Purple Noon), with an incredibly young and handsome Alain Delon as Tom Ripley, was the first filming of Tom's murderous and successful career.
Under the Sun, a film about the story of Mr Tom Ripley.
Two stars of the French cinematography, Alain Delon and Maurice Ronet, combined their efforts in this excellent film, which showed good views of Rome and Italy in its first half.
I saw this gem again last night after seeing "The talented Mr. Ripley" a few months ago, and with all my admiration for the excellent art direction in the Minguella film, Rene Clement's is far much better even with the liberties it takes with the novel's original plot.
Patricia Highsmith's Tom Ripley is a great movies criminal, and this Plein Soleil is famous most of all for bringing to world wide exposure Alain Delon in his first complex and dark role as the criminal later played by such followers as Matt Damon or John Malkovich.
Alain Delon as poor Tom Ripley gives a perfect innocent looking but coldly calculating young lad who would do almost anything to live a life of riches.