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Great Film overall

As Good As It Gets

It's a mild crowd pleaser for people who are exhausted by blockbusters.

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Liking a good mystery/thriller and Alain Delon as I do, I was looking forward to Plein Soleil. Delon and the scenery are both looking quite nice here. I enjoyed both very much and the story itself is good too, building the suspense slowly and assuredly along. Even though this and the 1999 Anthony Mingella film are based on the same source, I found them to be quite different in almost every way. Even though this version moved a little slowly at times for me, I prefer it slightly more than the later version, although both are worth viewing.

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. She really liked Delon as Ripley, and it's clear why. He does an excellent job as the suave, charming Tom who hides all of his amorality beneath the veil of a chiseled face and beautiful smile. 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. Rene Clement is a wonderful director, and the scene in the restaurant where Tom makes sure he is overheard talking to Marge (Marie Laforet) is especially good. 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. That to me was a big problem in the Minghella film, which was made worse by some dumb scenes. 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. Highly recommended.

A social climber is intent on pursuing the good life even if he has to commit murder to achieve his ends. The first screen treatment of Highsmith's "The Talented Mr. Ripley" is a success, thanks to the talented Mr. Delon and the sure direction of veteran Clement. There are good performances from Laforet, in her film debut, and Ronet, but this is Delon's movie. He is perfectly cast as bad boy Ripley, handsome, charming, and cold-blooded. The film is a bit too long; it could have perhaps benefited from trimming the extended expository scenes. The ending, a departure from the novel, is too contrived, but a reflection of the sensibilities of the time in which the film was made.

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. He seizes one such moment, when he claims to be a lifelong friend of Philipe Greenleaf and gains employment from his parents, who want their playboy son to return home to the US. Ripley befriends Philipe in Rome again claiming they were friends as children, Philipe doesn't believe it for a minute, but he enjoys Ripleys company, although doesn't show it much, preferring to treat him like a dog. While sailing on Philipe's yacht, Ripley is confronted by Philipe who claims he knows what he's up to, he's not wrong, Ripley kills him and then assumes his identity, but how long can he keep up two identities, as Philipe's friends and family seek him out, not to mention the growing police interest? 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. The film is beautifully filmed, in stunning locations, the ever present brilliant sunshine being a perfect juxtaposition against the dark deeds taking place within. Its unusual to see Delon play a demure character, but he shows his range and he pulls it off in style because we know behind it all there is an amoral man (perhaps even insane) trying to get out. One scene that sticks out, is the aftermath of the crime on the yacht, as the sea suddenly swells and Ripley struggles to control the yacht and also cover up his deeds from the prying eyes of a nearby ship, its power is quite breathtaking, the danger for Delon must have been very real. Clement has crafted a slow burner of a thriller, the script being very thrifty and lean, the film being engrossing and full of life.