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Did Delon take this sordid, frightening episode as a message to cool it with his well-known underworld associates? But If handsome was all that mattered, Buster Crabbe would have been a superstar. Or handsome and a bad actor. Besides, it feels redundant. And perhaps by now, it’s become apparent that I’m not mentioning something else: the beauty.
René Clément’s film is luscious and sinister (two words that could describe Delon), and in this adaptation of Patricia Highsmith’s The Talented Mr.
Ripley, the actor is on display, in full color, in various stages of stylishness or shirtlessness, yet there’s one early moment that feels intensely symbolic of Delon’s star status.
Written and directed by the gifted but deeply unsavory Jose Giovanni, it’s still one of the roles that went against Delon’s own hard-right inclinations—Delon said more than once that he was in favor of capital punishment.
But then any attempt to grapple with Delon, the varied and unfettered artist, will eventually bump into his tumultuous existence off-camera, the things he said along the way, and whether he played by his own rules or even agreed that there were rules.
Delon spoke willingly to the police and was eventually cleared, but the murder was never solved. The left-wing political filmmaker Costa-Gavras said he fought hard for Delon on the Cannes jury that year, but like many others who admire the art, Costa-Gavras was up against Delon’s seeming inability to stop making noxious public remarks.
You have to recognize it.”
Looking at Alain Delon is one of the keenest pleasures in cinema. - that you want to share? Delon gave the camera focused, concentrated imagination—a mind engrossed in being, not just displaying. You will get pleasure from the views.
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Delon’s character wants to go straight with the help of a social worker, played by Jean Gabin. I especially like Deray’s “Borsalino,” the story of two Marseille crooks (the other played by Jean-Paul Belmondo) in the 1930s who rise from minor rackets to major racketeering; and “The Sicilian Clan,” a French-Italian gangster film directed by Henri Verneuil.
There’s a famous scene where Ripley tells his erstwhile friend Philippe Greenleaf (Maurice Ronet) how he plans to steal his money and identity, which would naturally involve killing Philippe first. He was the only male French star no one could deny was as beautiful as Brigitte Bardot or Catherine Deneuve, an objet d’art all his own, in a way that went far beyond pinup or teenybopper.
That once-in-a-lifetime face. Let’s add that the camera is ruthless, and it will always reveal what the actor is giving it. Klein” that Delon proclaimed “I am profoundly anti-communist”—which, ok—then added, as if lack of controversy might hurt the image, that if this made him a fascist, too bad.
If I have neglected most of Alain Delon’s personal life, it’s because it’s more exhausting than his politics and even less appealing.
Playing dress-up in front of a full-length mirror, brushing his hair and donning the dapper duds of his “friend” Philippe Greenleaf (Maurice Ronet), with whom he has recently insinuated himself, Delon’s Tom Ripley begins to gently kiss his reflection, whispering imaginary sweet nothings to “Marge” (Philippe’s girlfriend).