Don't forget such an Alain Delon and a Tom Ripley. His charm lies in indifference. If he will make waves, if there are other people besides him in the bottom of his heart, Ripley is not Ripley. If Ripley was affected by emotions when he started his hands, if he was not out of his own thoughts but out of love, hatred, passion, impulsiveness, or unavoidable circumstances, he would not be Ripley, and it would be no different from making money. A mediocre person who is murderous and panicked by what he has done all day long is not a genius. A person who is as delicate as an ordinary person in terms of emotions, and who will be temporarily lost because of murder, can never be meticulous in front of the police, acting as a double liar and never revealing anything. Ripley also makes mistakes, but not because of emotions. Ripley's sorrow is not about sin in the usual sense. It's not that no one loves him or loves no one. Ripley's sorrow is higher than his own ability to feel, so he himself does not have the feeling of sorrow. He clearly knew that he was a genius, capable of dominating everyone around him, and knew that he was worthy of a murderous position. He is a genius Ripley. Obscured and buried a lifetime, he is a genius Ripley. Ripley doesn't love anyone, and he doesn't need anyone to love him. In my personal opinion, even in this movie, Ripley doesn't love Marge. In the end, he just needs to get everything Richard has to attack Marge, or in this movie, Philip has things, including love, because he is worth it. The words he said in front of the mirror were merely imitations. Even though Ripley and Maggie were the last tender and sweethearted, I have no doubt that when the body came up, only the two of them saw it with their own eyes, and Ripley would break Maggie's neck without thinking much. Ripley not only sacrifices everyone for himself, but also sacrifices anyone without guilt. Suppose there is a person in this world who thinks he can use real emotions to transform Ripley. When it comes to a crisis, when he needs to kill someone, Ripley will still be comfortable and unmoved, and take a sigh of relief after everything is cleaned up. Lit a cigarette on the sunny day outside the window. Just like after killing Freddy just now, in the room where the corpse was lying, silently eating the chicken delivered by the landlord, just like Ripley in the book looking at Freddy’s corpse and saying indifferently:
You are your own nasty thoughts Victim.
So Alain Delon's Ripley is so perfect. The strategy was set up silently, and even when the knife was placed by his side, he gave Philip the last chance in the card game, or gave himself the last excuse. Not surprisingly, Philip lost this opportunity because he was used to bullying Ripley. The perfect Ripley doesn't even move his eyelashes when facing the detective. Perfect Ripley, Freddy's body fell to the ground with the food in the basket, and looked like a helpless and miserable broiler, so similar to Ripley's murderer who smoked him. Perfect Ripley, every dead fish is like a dead classmate when he walks in the market. Philip, under the water, has a painful expression, or is he smiling strangely, or is he sound asleep? Even the audience was uneasy, Ripley dismissed it, and was incredibly indifferent to the conscience that might jump out to cause trouble. That rod is like a scale representing court and justice, like a sign that the heavens deliberately descended to intimidate sinners. In any movie, it can upset the protagonist. Ripley's eyes are empty, he turns his head and leaves, and treats the police. Tan and conscience are no different. Genius Ripley! Treating Skynet coldly, looking up at God indifferently, and walking away, indifferent, even disdainful of contempt.
So what exactly is Ripley's sorrow.
I think the original is just a suspense novel, and under the sun is a tragedy. Ripley's sorrow is a struggle with fate. It was a dead man who broke the shackles of fate, abandoning everything and destroying everything, biting off the necks of innocent people and sucking flesh and blood, and then showing his bloody fangs and smiling to fate: My victim is yours. Because this is an unfair world, I can't smash it, but I can do whatever it takes to prevent me from getting in the way.
Ripley strayed into a world of nobles that he had never seen before. This world, like the others, was full of mediocrities and even villains. When the same person is placed in different backgrounds, life will be completely different. As Hugo said, this person is rich and people call him good son; if this person has no money, people call him a rascal. But Ripley, nothing but Ripley can think of who Ripley is. He broke into a class he didn't belong to, surrounded by people who were not qualified to enjoy what he should have (he firmly believed), was treated as a plaything, was ignored and ridiculed. He is a loser by current standards. Ripley can bear everything, but a person who smiles at everyone can shed everyone's blood. I even believe that if he is placed in Philip's background, he can really be a better person. However, Alain Delon's Ripley failed. Ripley smiled in the sun to answer the call that sentenced him to death, thinking he was a winner. Of course he will fail, because the world does not allow such means to win. But why did Ripley always be born with that sad music, sad piano? Ripley, when that phone call sent you from heaven to hell, you would still be so calm, raising your head in the sun, and looking indifferently at the God who judged you and the destiny that you won in the end, and the destiny that accompanies you. Like the piano, a sad and cold smile appeared.
It's over, but do you think you won? From the moment I struggled, you just stepped back and failed. You have taken the name of the winner, but I, you can't be defeated.
Ripley was content as he walked to hell.
A beautiful Tom Ripley is not a gentle and affectionate but murderous Ripley, that is the prince charming of female audiences. Ripley's beauty lies in indifference, he will not show feelings that hurt anyone, but will only destroy all obstacles and pave the way. There is no need to worry that such a Ripley will be unreal, Alain Delon has shown his most vivid side. That is the most precious scene I think Alain Delon has in the whole movie. The young and beautiful Alain Delon put on his classmate’s full set of clothes a little childishly, straightened his hair, looked at the renewed self in the mirror, closed his eyes and stuck to the mirror, giving his reflection a deep kiss, just like a beautiful boy from Greek mythology. Narcissus also laid the groundwork early: this beautiful boy like a child, in this malicious world, only loves himself. Just like this sunny but hidden murderous movie itself, warm and beautiful, fascinating, wrapped in the cold that you can't touch.
After that, every time I saw this shot, I burst into tears uncontrollably.
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