Scorsese. Roger Ebert gave Purple Noon three stars (compared to the four-star review he gave to the 1999 version, The Talented Mr. Ripley, writing that "the best thing about the film is the way the plot devises a way for Ripley to create a perfect cover-up", but criticized the "less than satisfactory ending", feeling that "Purple Noon ends as it does only because Clement doesn't have Highsmith's iron nerve". James Berardinelli rated Purple Noon higher than The Talented Mr. Ripley, giving it a four-star review (compared to two and a half stars for The Talented Mr. Ripley). Berardinelli praised Delon's acting, saying that "Tom is fascinating because Delon makes him so" and also complimented the film for "expert camerawork and crisp direction." Berardinelli placed Purple Noon on his All-Time 100 list and compared it to the 1999 film: "The remake went back to the source material, Patricia Highsmith's The Talented Mr. Ripley. The result, while arguably truer to the events of Highsmith's book, is vastly inferior. To say it suffers by comparison to Purple Noon is an understatement. Almost every aspect of Rene Clement's 1960 motion picture is superior to that of Minghella's 1999 version, from the cinematography to the acting to the screenplay. Matt Damon might make a credible Tom Ripley but only for those who never experienced Alain Delon's portrayal." Nandini Ramnath wrote for Scroll.in, "The definitive portrayal of crime novelist Patricia Highsmith's most enduring creation was as early as 1960. Damon and Hopper come close to conveying the ruthlessness and ambition of Tom Ripley, but Delon effortless captures his mystique." Highsmith's opinion of the film was mixed. She felt that Alain Delon was "excellent" in the role of Tom Ripley and described the film overall as "very beautiful to the eye and interesting for the intellect", but criticized the ending in which it is implied that Ripley is to be caught by the police: "[I]t was a terrible concession to so-called public morality that the criminal had to be caught." The Japanese filmmaker Akira Kurosawa cited this movie as one of his 100 favorite films. Restoration and re-release In 2012 StudioCanal funded a restoration of the movie by the laboratory. The restored version was to be shown at the 2013 Cannes Film Festival as part of an homage to Delon's career, prior to re-release in France at least. On 4 December 2012, The Criterion Collection released the