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". Ebert is probably in the minority here, as it is hard to see how a remake forty years later can surpass the original when the original is done so well.
The underlying theme is "the artist as criminal", and it's interesting. When does a crime become a work of art? Is it in the eye of the beholder? Or there a craft to it?
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". Ebert is probably in the minority here, as it is hard to see how a remake forty years later can surpass the original when the original is done so well.
The underlying theme is "the artist as criminal", and it's interesting. When does a crime become a work of art? Is it in the eye of the beholder? Or there a craft to it?