Born in Sceaux, France, November 8th, 1935. Delon started off his career as a parachutist with the French Marines in Indochina. Once his tour of duty was over, he then worked at various jobs such as waiter, salesman, and porter in Les Halles market. In 1957, he visited the Cannes Film Festival and was promptly hired to appear in the film Quand la femme s'en mèle (When the Woman Gets Confused), directed by Yves Allégret.

In 1958, Delon had his first starring role in Sois belle et tais-toi (Be Beautiful but Shut Up) directed by Marc Allégret. The next year, he had his first big film success with Plein Soleil (Purple Noon), directed by René Clément, playing the character Tom Ripley (based on the book The Talented Mr. Ripley and later remade with Matt Damon in the starring role).

In 1960, Delon was scheduled to star in David Lean's Lawrence of Arabia but due to scheduling conflicts, he had to renege. The part, of course, went to Peter O'Toole and the movie became a legend.

Delon continued with a string of successes, which included the 1967 film, Le Samouraï (The Samurai), directed by Jean-Pierre Melville. Playing a ruthless hitman, the film became the top inspiration for a young John Woo, who has stated in many interviews that his "heroic bloodshed" movies were always based on what he saw in "Le Samouraï" and that he fashioned his characters on the always-cool Delon.

In 1968, Delon's bodyguard and friend Stefan Markovic was found shot to death. His lifeless body was discovered in a garbage dump and the ensuing inquiry into the crime made headlines across the world.

The murder investigation led to a major scandal which included drugs, sex, and gangsters in the Marseilles region. Prominent French political figures and other famous personalities, including Delon and his wife Nathalie, were questioned in the case. Delon was forced to admit to his many dealings with Marseilles crime figures which dated back to 1956 when he had just returned from the French Indochina war. One of these dealings was his financial participation in the buying and selling of guns within the criminal underworld. However, in the end, Delon and Nathalie were cleared of all charges and involvement in the case.

In 1969, Delon divorced Nathalie and began the phase of making movies that were less "art-house" centered and more action-oriented. Hence, the output included movies such as Le Clan de Siciliens (The Sicilian Clan) and Borsalino, both gangster films, the latter again becoming the inspiration for John Woo's A Better Tomorrow.

In 1981, Delon directed his first film, Pour la peau d'un flic (For a Cop's Hide), which was the film debut of Anne Parillaud (La Femme Nikita).

Even up to now, Delon is still starring and producing films at a staggering rate. He's been in the business for over 40 years and has made over 80 films, making it an average of two films per year. His latest appearance is in the upcoming French tv series Fabio Montale.

This node is not going to be about Alain Delon or anything about his roles in any movies. This is about how I felt about him when I fist saw him.

Oh, how I loved him so dearly!

I might have as well as seen a handful of movies he’s in it, but I do not remember any, except “Purple Noon”. Of course, the title of the movie was translated into a different one in my native langauge, and I still truly believe it was more romantic that way.

I first (and probably last remember seeing him) saw him in “Purple Noon” when I was very young like nine or ten. This requires me a bit of explanation of seeing this kind of movies at that age. My mom used to watch classic movies which she used to get in touch with when she was an adolescent. This did not force me to watch old movies, but it influenced me a lot, and I think this is why I have this vague fascination toward 40s, 50s and 60s’ movies including musicals and so forth.

So back to the topic, I saw Alain in “Purple Noon”. He was handsome just like any other actors we see around everyday. But there is this scene that I can never forget: Alain looking himself in the mirror in the boat talking himself to convince something like he can do it (is it?). It doesn’t really matter what he said there. What is important is that he was just so perfect in that scene, so angelic, so much like a perfect sculpture freshly cut out of master’s hands. Although I was young and wild and rough as Scout in ‘To Kill a Mockingbird”, he was just so perfect and handsome to turn myself into a girl for a moment to fall in love with him, to think to possess him for mine.

I have yet to see “The Talented Mr. Ripley” for fearing Matt Damon might shatter my childhood fantasy. Mr. Delon was that good.

God, now I feel like such a grown-up feeling nostalgic about stuff over this.

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