Purple Noon (1960)

On with the Patricia Highsmith Ripley adaptations then and this one is certainly different to The Talented Mr Ripley (1999) and the Netflix version in 2024, simply entitled Ripley. There’s a much more ‘European’ feel about it as the René Clément version here (originally Plein Soleil) is based around the French language with the action largely in Italy again. So we still have English-sounding names (although Dickie has been ousted for Philippe) and references to where the family have come from in the USA, Italian focus because that’s where it is, but when the core characters are talking to each other it’s in French!

It’s typically 1960’s ‘feeling’ in style, fashion and approach with actors looking like The Saint’s Simon Templar on the set of an episode of The Avengers or the like. People are polished with slick-back hair and I couldn’t help myself thinking of Roger Moore!

There are some differences from the other stories with various details adjusted giving it it’s own style. According to one review I read, Highsmith wasn’t very happy with the ending in Purple Noon as it wasn’t the same as the book (not that I’ve read it yet), and certainly different from the other two versions I’ve now seen, mentioned above. There’s lots of tension built up around the events, especially as the dark deeds come to the fore, but just in more of a ‘Hitchcock’ type way than we expect in more modern films and TV shows now.

There’s also pretty much no inference or suggestion regarding Tom’s sexuality as there are in the others (and I’m guessing, knowing Highsmith’s other work) or the book. In fact, in attempting to ‘take the place’ of Philippe/Dickie, that seems to also include here becoming the lover of Marge as well. Much of the rest of it is similar, though with much less time than the 8-episode Netflix version had to explore and dwell on details, patching things together seamlessly. Or even, to a large degree, The Talented Mr Ripley. But the style and production more than makes up for that and it doesn’t feel too rushed most of the time.

Alain Delon plays Tom and, as I say, he looks very much like The Saint! He does a grand, if less intense job than the one we see from Matt Dillon and especially Andrew Scott, but again, a style of the 1960’s French cinema - and his own. Tom’s ‘talent’ on show here is much more subdued as a feature, as we witness him, for example, having to work very hard to learn Philippe’s signature and not, as with the other adaptations, it being presented as a skill he just has. On display are the other ones however, being able to mimic people’s voices and forge documents - so again, a different emphasis and impact on the story.

Marie Laforêt plays Marge nicely, with a feel of Raquel Welch or perhaps more Gina Lollobrigida about her - again, reflecting the era and leading ladies. I do think that the sultry and suspicious Dakota Fanning pulls the job off best in the Netflix version, and even Gwyneth Paltrow, again, played differently, is ahead of Laforêt in The Talented Mr Ripley. But they are different approaches to the role, to be fair. Maurice Ronet plays Philippe and demonstrates very well the upper class spoiled-by-money, annoying character who one could argue gets what’s coming to him!

Much like the other versions, the cinematography and sets are very nicely organised, exploited and shot. Maybe it’s not such a hard job to at least make those kinds of locations look great, sun, sea, sand and ancient European cities, building and culture, but it is visually delightful with that kind of ramped-up colour palette we were used to back in the 60’s.

I still think that I prefer the 2024 Netflix version, followed by this one and The Talented Mr Ripley coming in last. I have one more (I think) to see before I put this (first book) to bed and that’s Wim Wenders’ 1977 shot at it with Dennis Hopper called The American Friend. Watch this space!