French screen actor Alain Delon passed away over the weekend at the age of 88.
An influential figure of ’60s French cinema, Delon is perhaps best remembered for weaponizing his striking beauty to play alluring yet cold and dangerous characters in crime thrillers like Le Samouraï and Purple Noon.
While his legacy is a fraught one, littered with appalling behavior (the “Personal Life” section of his Wikipedia is pretty harrowing, and this tweet sums it all up nicely), it’s the latter film in particular that has made him something of a timeless emblem of cinematic homoeroticism—even if the man himself is the furthest thing from a queer icon.
Your dose of fabulosi-TEA
Subscribe to our newsletter for your front-row seat to all things entertainment with a sprinkle of everything else queer.
For those unfamiliar, 1960’s Purple Noon—or Plein Soleil in French—is director René Clément’s adaptation of a little novel you may have heard of called The Talented Mr. Ripley, from author Patricia Highsmith.
That’s right! Decades before Andrew Scott and Matt Damon, Alain Delon was one the first to play the literary sociopath Tom Ripley on the screen (only second to American actor Keefe Brasselle in a 1956 episode of the CBS anthology Studio One). And the role is what made him a star.
You likely know the story by now: Amateur con man Ripley heads off to coastal Italy on a job to convince wealthy heir Philippe Greenleaf (Maurice Ronet) to return home at the request of his father. But, enamored with the playboy’s luxurious life, Ripley hatches a sinister plan to assume his “friend’s” identity, and the body count quickly rises.
Related*
Just how gay is Netflix’s ‘Ripley’? Andrew Scott says the series’ queerness isn’t so black-and-white
With his leading role in the buzzy new adaptation of ‘The Talented Mr. Ripley,’ Andrew Scott weighs in on the iconic character’s long-debated sexuality.
There are a number of ways in which Purple Noon differs from Highsmith’s novel (for example, this version of Dickie Greenleaf is much more cruel to Ripley), but what it does notably maintain is the homoeroticism—both that which underpins the complex relationship between Ripley and his marked man, and especially in the way Delon is depicted on screen.
With icy blue eyes, a perpetual pout, and his slim, trim frame, Delon—who was in his mid-twenties at the time— was a sight to behold, and Clément’s camera knew it. Delon knew it, too.
The way he peels off his shirt to sit in the sun at the wheel of the Greenleaf yacht? The moment belongs in a museum!
Sure, it was a French production, but given the film was released during the time of Hollywood’s Hays Code—when anything suggestive or even remotely sexual was often censored—the lustful light in which Delon was depicted made Purple Noon stand out all the more.
Not to mention, up until that point, many of France’s biggest male movie stars had a more traditional masculine appeal—rugged, big and burly. Delon possessed a more graceful, refined natural beauty that immediately made him pop when he sauntered into frame in Purple Noon, and the role quickly made him a enigmatic silver-screen heartthrob on the level of James Dean.
Related*
8 queer movie villains we actually kinda love
Is it wrong for queer villains to be this cool?
Interestingly, per Film Comment writer Michael Koresky, Delon was originally cast in the Greenleaf role, which would feel aligned with Jude Law’s “golden god” take on the character in 1999’s The Talented Mr. Ripley—the pair share a certain youthful gorgeousness.
However, Delon convinced Clément to let him play Ripley, which flips the script. The popular ’99 version of Highsmith’s story makes Greenleaf—with his lavish lifestyle and Law’s good looks—an enviable object of its audience’s desire, much as he is Ripley’s. Meanwhile in Purple Noon, it’s Delon’s version of the antihero that is so impossibly beautiful, so alluring, the viewer can’t help put lust after this dangerous stranger, implicating us in the process.
Again, Alain Delon is not necessarily an actor who should be valorized or idolized, but Purple Noon makes it impossible to not view him as object of explicitly queer desire. He lives on, in celluloid, as a symbol of homoeroticism, whether he likes it or not.
As Koresky writes, “Tom Ripley remains the Delon of our dreams”—and we’re pretty sure we know what kind of dreams he’s talking about.
Purple Noon is available to stream via The Criterion Channel and Kanopy, and is available for digital rental/purchase via Amazon Prime Video and Apple TV.
Related*
Peak gay villainy: 20 titillating facts about ‘The Talented Mr. Ripley’
Do you know which A-list Oscar winner almost played Ripley instead of Matt Damon?
jp47
Delon was one of the best looking actors in mid-century film, but his life was a mess of sexual escapades with many women and all out cruelty to one of his children. He had a terrible childhood and chaotic young adulthood (he was dishonorably discharged from the French navy), he was a kept man, the list goes on and on. He did find success as a film actor and is considered a huge star in Europe to this day.
Colin Clout
There was nothing homoerotic about this film. It actually whitewashed the homoerotic elements in the novel and made Ripley into merely a class-aspiring womanizer. Maybe you should have actually watched the film before writing a review about it.
Gabriel in Seattle
Delon was an anti gay voice of the French right wing.
He said about male homosexuality that men should not be about the business of “picking up” other men, but should be “wooing women”.
He didn’t understand gay men, or homosexuality.
I think gay men should slow down in regards to thinking about him too much.
He was not a fan of our community.