Purple Noon

Purple Noon

The only silver lining to Alain Delon’s sad passing just last week was that, through his loss, men everywhere were suddenly just a little bit handsomer, relatively speaking. Certainly in 1960 they must have all felt practically ogre-like by comparison to Delon in “Purple Noon,” when he was at the height of his physical beauty and coming into full command of his naturally riveting screen presence. That presence is the illuminating light of this early adaptation of Patricia Highsmith’s “The Talented Mr. Ripley,” but director Réne Clement brings a brisk, delirious pacing to bear as well. The pivotal sailing scenes, for instance, are so expertly reflective of the volatile emotional states of the three leads that they sweep you up with their urgency. And the scramble across Italy that ensues is both intoxicating and desperate, again a brilliant extrapolation of Delon’s state of mind. This is much more than a superb showcase for Delon’s glamour—which is not to dismiss the glamour here though. Clement paints a gorgeous vacation-land of southern Italy, and both delights and repulses you (though mostly delights) with the creature comforts of the wealthy. The movie is practically a parade of incredibly beautiful, precision tailored, mid-century fashions. This is among the best that a cast has ever been dressed.

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