July 2014 Blind Spot Film: Purple Noon / Plein Soleil (1960)


It’s been over three years since I saw an Alain Delon film, that was  Le Samouraï  where he played a silent-but-deadly assassin. Well as Tom Ripley, he isn’t quite as taciturn but he’s just as deadly. Based on Patricia Highsmith’s novel The Talented Mr. Ripley, I was familiar with the story from the 1996 film version. I can’t remember much of the details of that one thankfully, so when I watched it, the story still felt fresh to me. Though it’s based on the same novel, the two films were pretty different. There’s a homo-erotic undertones in the 1996 version that wasn’t present in this one, and the ending is also very different.

Just like other Blindspot entries, this review may contain some plot discussions.

Right away I thought Delon was a far more appealing and at the same time more sinister version of Tom Ripley than Matt Damon was. With his razor-sharp cheekbones and steely gaze, Delon possesses a certain coldness, that dangerous undercurrent lurking beneath his impossible good looks. Sent to Italy by a wealthy Mr. Greenleaf to retrieve his playboy son Philipe and bring him back to San Francisco. Though Delon essentially plays an American, he barely spoke a word of English as this is a French film.

Tom is to be paid $5000 for his services but later the offer is retracted when Mr Greenfield realizes Tom fails to do his mission. By the time we see him hanging out with Philipe Greenleaf (Maurice Ronet), the two are like inseparable friends. Even as Philipe’s longtime friend Freddie (Billy Kearns) resents Tom for being a moocher, Philipe enjoys spending time with him … for a little while at least.


Philipe’s fiancee Marge (Marie Laforêt) feels sorry for Tom but at the same time she’s not comfortable having him around. Well, can’t say I blame him, especially when it’s someone who obviously doesn’t mind spending other people’s money and wears her fiance’s clothes. There’s a really disturbing scene where Ripley is mimicking Philipe in front of the mirror whilst wearing his clothes and shoes. What’s more disturbing is that Philipe is well aware that Tom is lusting after his lavish lifestyle, yet he still lets him hang around with him. They even go on a yacht trip together, the three of them. Whilst Philipe is making out with the beautiful Marge under the scorching Mediterranean sun, Tom’s lustful eye follows every inch of them.


Director René Clément filmed the psychological thriller in an expertly manner. The tension isn’t overt but it’s always lurking, waiting for the right moment to strike. The dialog at the yacht between Philipe and Tom is particularly fascinating as Tom jokingly tells him about his whole plan about killing him and taking his identity. At first Philipe seems nonchalant about the joke, even pointing out the weak points about Tom’s plan and all that. He gradually begins to suspect it wasn’t a joke after all, but by then it was too late. This is the most action-packed scene in the whole film, and Clement doesn’t overwhelm us with ominous score, instead he lets the natural elements like the choppy waters and high winds build  tension. Delon’s shirtless tanned body as he vigorously grabs the yacht steering wheel in this scene definitely sticks with you. An iconic combination of sex appeal and disquieting menace set in a panoramic vista.


The cinematography by Henri Decaë is absolutely striking, whether it’s the narrow, cobblestone streets or the vast blue ocean, every frame is postcard-worthy. This movie could practically double as a Italian tourism video, especially mixed with Nino Rota‘s jazzy score. Best scenery of all is in Delon himself, what with cheekbones you could cut yourself on and those chilling, penetrating blue eyes that Decaë often frame in extreme close-ups. The devil comes in attractive packages and there are few men more attractive than the French actor. All the beautiful people and striking scenery gives a staggering contrast to the ugly-ness and darkness of the human soul. Even Philipe who’s the victim in the story is not a sympathetic character as he’s a hedonist and a bully. In a strange way, as wicked as Tom was, there’s a bit part of me that’s curious if he would get away with it. I’m not saying I sympathize with him, but like any great cinematic villain, he remains magnetic and captivating despite his vice.

Delon practically outshines everyone in the film as you can’t take your eyes off him. Obviously he’s devastatingly beautiful, but looks alone isn’t enough to carry a role like this. Peter Bradshaw’s review at the Guardian says it best “… his almost unearthly perfection is creepy itself, as if he is imitating a human being.”


Now, about that ending. I found out after watching the film that in the book, Ripley did get away with his crime, but he becomes haunted with paranoia that he would be caught. But the ending in the film implies that Ripley was arrested when the policemen discovered Philipe’s decomposed body still tied to the anchor cable that’s tangled around its propeller. I do think the book’s ending is far more intriguing and audacious, it seems that the censorship code is to blame for the more tame finale. But still, it was a memorable ending with the sun-drenched Ripley sipping cocktails on the beach… the tranquil sight of the beautiful Riviera contrasted with a stomach-churning shot of a decomposed hand peeking out from a body bag.

If you have seen The Talented Mr. Ripley, I highly recommend you to check out this one. I’ve never seen Mr. Clément’s work before but I definitely should check out more. I’m also curious to see other roles by Delon as the two I’ve seen so far depict him as this cool and calculated persona, which he obviously excels at. He’s the perfect Tom Ripley here, far more effective than Damon and even John Malkovich in Ripley’s Game. Clément’s been called the French Hitchcock and it’s definitely fitting, yet his direction is still unique in that somehow the suspense is more subtle and there’s even a laid-back approach, keeping us mesmerized and on edge at the same time.

4.5 out of 5 reels

This is the fifth entry to my 2014 Blind Spot Series, as first started by Ryan McNeil at The Matinee, and continued by Dan Heaton at Public Transportation Snob .

What do you think of  Purple Noon? I’d love to hear what you think!

Weekend Roundup: Farewell My Queen, Purple Noon & Wishing I were at San Diego Comic-con!

Well my weekend is pretty uneventful really. I didn’t even go to the cinema nor watched too many movies. Friday night was a fun Movie Night with my girlfriends, which we haven’t done in almost a year since one of them had a baby. We’ve decided on the movie weeks ago, Farewell My Queen, which is fitting since I’ve been obsessing over the French Revolution since my Paris trip in early June.


The film focuses on the relationship between Marie Antoinette and one of her readers Sidonie Laborde during first days of the French Revolution. The whole movie takes place in Versailles which is beautifully shot. Now believe it or not, I have not seen a single movie about Marie Antoinette nor the French Revolution. Though the film looks authentic and well-acted, the film barely pays any attention to the real issues that led to the revolt. The Revolution only serves as a backdrop, focusing more on the obsession, loyalty and betrayal of the three main characters.

As I’m now watching Downton Abbey, the upstair/downstairs lives of the servants, courtiers and the royals in that lavish palace is fun to watch. The scene when the courtiers find out about the list of the 300 targets of the guillotine is pretty intriguing and you could really feel the tension brimming in that dark corridor. The performances are quite good, I’m especially impressed by Lea Seydoux as Sidonie, who’s really the lead of the film. She has a certain vulnerability about her that makes you sympathize with her right away, and she’s a stunning actress who definitely looks more interesting the more you look at her. Diane Kruger is quite effective as the Austrian-born queen, whilst Virginie Ledoyen is as beautiful as she is aloof, which is fitting as she’s the object of the queen’s affection. Overall though, the film is just ok, perhaps not the best films out there on the topic of the French Revolution, but it’s not a bad one to start with.

PurpleNoonCriterionFor my July Blindspot, I watched Purple Noon (Plein soleil) starring Alain Delon. I’ve seen the remake The Talented Mr Ripley years ago so I knew the gist of it but honestly I’ve forgotten most of the details from that one. One thing for sure Matt Damon is not nearly as appealing as Delon in the role of Tom Ripley, even though it’s funny that Delon barely spoke any English in this film despite being an American character.

Delon with his razor-sharp cheekbones and steely gaze possesses a certain coldness, that dangerous undercurrent beneath such an impossible good looks. I’ll save the full review until Tuesday but suffice to say I’m glad I finally saw this one. I’ve been wanting to see more from Delon after seeing him in a taciturn role in Le Samouraï.

Now, the rest of my weekend is filled with a lot of drooling over Comic-con in San Diego. My dear friend Melissa of Snap Crackle Watch was there with her girlfriend, lucky gal! Here’s her recaps – Part I and Part II. I was following her fun tweets all weekend, can’t wait to read her recaps whenever she gets around to posting it. Man, I could see why it’s getting more difficult impossible to get to SDCC, I mean the kind of films being covered there is incredible! Interstellar, The Avengers: Age of Ultron, Batman vs Superman, The Hobbit 3, etc. Here are my favorite photos from the four-day festivities!

A bunch of trailers debuted at SDCC, but I refuse to post those grainy, shaky-cam versions shot by fans in Hall H. I’ll wait for the official one, thank you very much. But hey, the one I’ve been waiting for, Mad Max: Fury Road, has released its first trailer online!


I didn’t see any photos of Tom Hardy so he might not have been at the Mad Max Panel but here’s the new trailer. Interesting to see him with his Bane-like mask, ahah. So far it looks very cool though I expect the second trailer to actually show more of the story than just a mash-up of action sequences in dystopian Australian dessert.

Well that’s my weekend roundup, folks. What about you, seen anything good?

Weekend Viewing Roundup: Le Samouraï and 1982 TRON

Happy Monday, all! Hope you had a fantabulous weekend… or at least an enjoyable one. Well it’s chilly over here, but that’s hardly news obviously… it’s Minnesota folks, if it’s warm in December then we have some serious climate issues on our hands 🙂 Well, did you get to the movies this weekend? Perhaps you went to see Tangled, which finally dethroned the latest Harry Potter movie from its box office reign. Or some of you probably saw Black Swan, which had strong opening on limited release according to Box Office Mojo. After reading my buddy Vince’s excellent review, was hoping to see The Red Shoes (did you read it yet?) which is on Netflix Streaming, but didn’t get around to it. Hopefully next weekend.

In any case, the genre jumping continues. On snowy Friday night, hubby and I ordered in and snuggled to watch Le Samouraï, which I mentioned briefly in last week’s weekend roundup. I’ve been wanting to see an Alain Delon movie, and this description of Delon’s character Jef Costello in This Guy’s list of Top 20 Badass Characters of Early Cinema intrigued me:

This is badass perfected. Costello is exacting, precise, he has the cold hard stare down pat, a man of very few words. He has the suave chicness of Bond, but remains as dark as any Noir antihero. He’s mysterious. Jean-Pierre Melville’s film is hip beyond belief, and no one could bring as much badassery to Jef Costello as the impeccable Alain Delon.

Well, that description is positively spot on. Costello is a free-agent assassin who brought the silent-but-deadly type to a whole new meaning. His glazed expression perfectly complements his impeccably tailored trench coat and stylish fedora… it’s as if they’re tailor-made to match his killer looks. I don’t think I’ve ever seen a man wore a classic trench coat as flawlessly as Delon here, in fact, the style of this movie can spark a whole new blog topic on its own. Not just for Costello’s clothes and his spartan-like lifestyle, but also Jean-Pierre Melville’s stylish noir direction. Right from the beginning, we’re told that the main theme of this movie is solitude… “There is no greater solitude than that of the samurai unless it is that of the tiger in the jungle… Perhaps…” so says the quote attributed to an ancient samurai writing Bushido (though the quote is by Melville himself).

The French auteur is widely recognized for his tragic, minimalist film noirs (per Wiki), a genre I’m not too familiar with but always curious about. Le Samouraï is a fascinating look of that genre. Not sure I’d say that I enjoy it immensely though, I’d be lying if I said that. There were more than one occasion where the movie felt repetitive and tedious, overindulgent even. On the other hand, it’s also a nice break from the hurried pace of today’s movies where dizzying camera work and all kinds of special effects often ‘clutter’ the story and lessen the impact. In fact, the measured pace give the few action sequences more impact and Melville established plenty of tension in an effortless kind of way.

The gripe I have about it though, is the lack of character development. There’s little attempt to explain why Costello is the way he is… his reason for being a loner and his relationship with the girl who’s willing to risk her life to help him. It’s tough to feel any sympathy or any kind of connection with the character. The way the supposedly-perfectionist hit man conducts his business also leaves my hubby and I scratching our heads… a lot of them seemingly defy even the most basic common sense and there seems to be no real motive on his part — or any other character in the movie for that matter. In the end, Le Samouraï feels more of a style over substance and feels as distant and cold as Delon’s deadpan stare. Still, it’s worth a watch though once is definitely enough for me, but I might check out other Alain Delon movies, such as Purple Noon, which is his first major role.

The second film we saw this weekend, 1982 TRON, is practically a warm-up to one of my highly-anticipated movies of 2010, TRON: Legacy. I never saw this movie nor was I even remotely interested in it but my husband, who’s big fan, kinda sold me on it. He encouraged me to watch original before the movie comes out in 2 weeks, as the new one is a direct follow-up from the original story (one of the new posters even paid homage to the original).

The 1982 version showed hacker/arcade owner Kevin Flynn (Jeff Bridges) and his friends’ quest to take back the concept that’s been stolen by a former colleague, which led him to a virtual world to battle with a ‘Big Brother’ type of program called MCP. TRON is an independent system security program created by Flynn’s ally Alan (Bruce Boxleitner), which holds the key to destroying MCP. In the new trailer, it shows that Flynn’s been missing for decades and now it’s up to his son to find his father and restores his legacy.

Y’know, I actually quite enjoyed this one, though towards the end I kinda became numb a bit from all the neon lights of the video game world 🙂 Sure it looks dated but this was made nearly three decades ago, where there was no such thing as graphical user interface and computer mouse wasn’t even invented in this pre-Internet era. So at the time, this was unlike anything they’ve ever seen and the concept is definitely intriguing and interestingly enough, still relevant to this day.

It’s pretty amusing to see the then 30-something Bridges and Boxleitner (who was the star of one of my favorite 80s show Scarecrow & Mrs. King) so young and fresh-faced. Bridges especially has that mischievous playfulness about him that’s so fun to watch. Both actors are reprising their roles in the new  movie, but of course the real star of the new show is the spectacular visuals, especially of those glowing lightcycles! 😀 A few street-legal replicas of those are apparently for sale. But before you shell out $55 K, keep in mind that these things—like Batman’s Batpod—only looks cool if you ride ’em fast (even better if you have a cape on you, too :D). The guy in the video is barely able to mount the thing, kinda looks ridiculous if you ask me 😀

In any case, just for fun, check out this fan-made original TRON trailer:

Well, that’s the roundup, folks. What movie(s) did you manage to see this weekend?