[psycho d]

Purple Noon (1960). Where other flicks merely take a stab at creating a psycho-thriller Purple Noon succeeds admirably. No gratuitous violence, chase scenes, explosions and such are needed, but instead attention to the actual unraveling of the story. It doesn't even know that it is such a thriller. Of course, much of its success can be attributed to Alain Delon. His cool-headed and calculating performance is belied by his incredible good looks. Attractive people, so the minds conjures, are simply not capable of nefarious deeds. And yet all the makings of a sociopath determinedly focused on some naughty business are there for all to see, character and audience alike. In fact, it is the incongruity with perceived reality that lures us into cheering for Delon's Mr. Ripley, even though his intentions are clearly far from good. Without Delon this piece might not have succeeded so. Of course, the supporting cast was magnificent from top to bottom. Even minor players turned out compelling pieces. The directorial impress of Rene Clement can be no more evident than in Purple Noon; everything works through ostensible simplicity that belies the complexities of such a sublime creation. The cinematography here was no less biting or breathtaking, with the sailboat scene about as harrowing a piece as has ever been done. The minimalist score was simply perfect, leaving me with something to whistle my way back to reality whence this fine cinematic triumph had found its dock. Merci beaucoup.
Genruk