Delon, Alain

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    Alain Delon, Godfather of the Belted Trench

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    As a titan of French cinema, he dressed the part, even when playing a killer.Alain Delon, the French film star who died on Sunday at 88, was not big on smiling.He smiles little in “Le Cercle Rouge,” the 1970 caper in which he plays the mastermind of a jewel heist.He smiles little in “La Piscine,” the sexy 1969 thriller in which he plays the boyfriend of a woman whose friendship with an older man drives him to madness.And he smiles little in “Le Samouraï,” the luscious 1967 noir that cemented his status as a titan of French cinema and arguably does as much to glorify fashion as it does a life of crime.That one opens with a shot of Mr. Delon, as a hit man named Jef Costello, lying fully dressed on his bed, staring at the ceiling as he smokes a cigarette.The room is dim and bare. The suit he wears is a beautiful cadet gray. The double-breasted trench coat he puts on before exiting onto the street — well, that quickly becomes its own character.We see Jef step into a car, which is not his car. We know this in part because he carries a bracelet of keys with which to boost it. The shot of him reaching for the correct one serves as an opportunity to show off the thin leather strap of his Baume & Mercier watch.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Where to Stream the Films of Alain Delon

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      A look at 10 standout films featuring the actor, who died on Sunday at 88.Most reviews of the films Alain Delon made at his 1960s and ’70s peak mention either his beauty or his inscrutability. Very often they bring up both.Despite his looks, the French star, who died on Sunday at 88, was not a typical leading man. He did not do romance and mostly avoided the relationship dramas so popular in his home country, even though he won his single César Award for one, “Notre Histoire” (1984). For the most part, Delon steered clear of lighthearted fare — the over-the-top spaghetti swashbuckler “Zorro” (1975) is one of the few such outliers. Instead, Delon will forever remain associated with the bleak thrillers and noirs he focused on after the mid-1960s. Sometimes he played the cop, other times the criminal. Always he looked as if he was withholding something — as an actor, he was never afraid of silence.Luckily, a large number of Delon classics are available to stream. Here are 10 of the best ones, in chronological order.‘Purple Noon’Stream it on the Criterion Channel; rent or buy on Apple TV or Amazon.Has there ever been a more handsome, conscience-free psychopath than Delon’s Tom Ripley? The actor was 25 when his breakthrough hit came out, in 1960, and his magnetism made the character’s dangerous pull on men and women completely inevitable. Delon is a major reason this film remains one of the best Patricia Highsmith adaptations ever, and his youthful cockiness and lethal charm continue to burn the screen.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Alain Delon’s Best Performances Showcased in a Retrospective

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      The French star is the subject of a series at Film Forum focusing on movies from the ’60s and ’70s, when he became an international sensation.When Luchino Visconti first saw Alain Delon, he is said to have cried out, “It’s him!” Visconti had found his Rocco, the tragic, tender soul of his next film, the 1960 family drama “Rocco and His Brothers.” One of the founders of Italian neorealism, Visconti apparently didn’t bother introducing himself to the young French actor. Perhaps he was tending to the tears that I like to think fell from his eyes when he saw his future star. I like to think that’s how everyone reacts when they initially see Delon, whose beauty has long inspired paroxysms of rapture.This is, after all, a star whose looks over the years have been described as sensual though also insolent, cruel, self-absorbed and androgynous, a word that helps explain why his beauty — as with that of other men whose looks threaten tidy gender norms — makes some viewers uneasy even as it sends others into ecstasy. (“My mother had to put a sign on my pram,” Delon once said, ‘You can look, but you can’t touch!’”) You may want to break out your thesaurus to find your own mot juste to describe Delon, now 88: A selective series that includes “Rocco” and 10 of his other films (he’s made scores more), opens Friday in New York at Film Forum.Delon opposite Annie Girardot in “Rocco and His Brothers.”Film ForumBorn in 1935, Delon had a rough early life by all accounts. After his parents divorced when he was young, he was placed with a foster family and later sent to boarding school. By 17, he was in the military and France’s war in Indochina. A providential trip to Cannes with some friends in 1957 soon found him in the sights of a talent scout working for the Hollywood producer David O. Selznick, who wanted to sign the actor to a contract but also work on his English. Delon instead stayed in France, kick-starting a prolific career that rapidly gathered momentum. By the end of the 1950s, he had become known as the French James Dean.You understand why when you dip into the series, which includes some of Delon’s most famous films and a few oddities, all culled from the 1960s and ’70s, when he became a huge star at home and then an international sensation. His breakout came when he played the sly, sinister Tom Ripley in “Purple Noon” (1960), a French thriller adapted from Patricia Highsmith’s novel “The Talented Mr. Ripley” and directed by Réne Clément. Much of the film’s appeal rests with Delon, a hypnotic, destabilizing presence whose stardom was sealed the moment Ripley peels off his shirt, baring his chest. He repeats this bit of striptease after committing his first murder, a distillation of Delon’s startling violent eroticism.The actor in his breakout role in “Purple Noon.”Film ForumWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘La Piscine’ Review: Pretty, Rich People Behaving Poorly

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      Alain Delon, Romy Schneider and Jane Birkin are among the reasons this restoration of a French thriller is worth watching.“La Piscine,” made in 1969, is best known in the United States for its remake, Luca Guadagnino’s frisky, borderline frivolous 2016 “A Bigger Splash.” The release of a pristine restoration of the original, directed by Jacques Deray and starring Alain Delon, Romy Schneider, Maurice Ronet and Jane Birkin, should bolster this striking movie’s reputation.Schneider and Delon play Marianne and Jean-Paul, a French couple vacationing in a roomy St. Tropez villa whose swimming pool — the “Piscine” of the title — is one of its eminent attractions. They sunbathe, splash and chase one another around the pool as if they were a brand-new couple. As it happens, they’ve been together for two years. The casual nudity and intimations of S-and-M in their relationship suggest an erotic thriller in the early days of its liberation from censorship norms.But as a thriller, it’s a very slow burn. Into the couple’s idyll drops Harry (Ronet), an old friend of Jean-Paul’s and an erstwhile lover of Marianne’s. A wealthy purveyor of pop music, he pulls up to the villa in a snarling Maserati with a surprise in tow: his teenage daughter Penelope, incarnated by the willowy, whispery Birkin.Almost 10 years after his landmark roles as Tom Ripley in “Purple Noon” and Rocco in “Rocco and His Brothers,” both in 1961, Delon still retained every iota of his ultra-sultriness. In dramatic roles, the actor, his sexy sleekness notwithstanding, tends toward a solemnity, and that suits him well here. Jean-Paul, a failed writer who’s now an ad executive, is a sullen puzzle with a hint of menace.Schneider and Birkin do well as independent-minded women who are nevertheless played as pawns by the males. But Ronet almost walks away with the picture. Harry’s big grin is offset by a barely visible raised eyebrow of derision, and his passive-aggressive manipulation of Jean-Paul is chilling.Pretty people behaving poorly in beautiful settings is something we don’t see as much of in cinema as we used to. This is a master class in the subgenre, and one of unusual depth. (Deray worked on the script with the prolific Jean-Claude Carrière, who recently died). In the movie’s last third, Jean-Paul shows a shocking sadism. Once Jean-Paul and Marianne are exiled from their metaphorical Eden, they remain fully clothed for the rest of the picture, and the movie’s color palette becomes more autumnal. Nifty nuances such as these make “La Piscine” a film experience both pleasurable and discomfiting.La PiscineNot rated. In French, with subtitles. Running time: 2 hours 2 minutes. At Film Forum in New York. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters. More