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The American Friend (1977)
"Der amerikanische Freund" (original title)

7.4
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Ratings: 7.4/10 from 6,829 users  
Reviews: 48 user | 38 critic

Tom Ripley, who deals in forged art, suggests a picture framer he knows would make a good hit man.

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Title: The American Friend (1977)

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Cast

Cast overview, first billed only:
...
...
Lisa Kreuzer ...
Gérard Blain ...
Raoul Minot
Nicholas Ray ...
Samuel Fuller ...
Der Amerikaner
Peter Lilienthal ...
Marcangelo
...
Igraham
Sandy Whitelaw ...
Arzt in Paris
Jean Eustache ...
Freundlicher Mann
...
Rodolphe
Andreas Dedecke ...
David Blue ...
Allan Winter
Stefan Lennert ...
Auktionator
Rudolf Schündler ...
Gantner
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Storyline

Tom Ripley has a sweet deal with an art forger. The forger creates the paintings; Tom sells them. But another criminal business associate wants Tom to go in for an even riskier enterprise: murder. Tom suggests his associate ask a local picture framer instead. That man has a fatal disease, or so it's rumored. More, he has a wife and kid that surely he wouldn't want to leave penniless. Let this picture framer be a hit man, and no one will suspect. The terminally ill craftsman may agree to the misdeed, and several more, but he'll end up needing Tom Ripley in a pinch. Written by J. Spurlin

Plot Summary | Add Synopsis


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Details

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Release Date:

24 June 1977 (West Germany)  »

Also Known As:

The American Friend  »

Box Office

Budget:

DEM 3,000,000 (estimated)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The melody that Jonathan repeatedly sings throughout the movie belongs to The Kinks song "Too Much on my Mind" from their 1966 album "Face to Face". The cover of this LP can be seen in Jonathan's desk in one of the workshop scenes. See more »

Quotes

[first lines]
Derwatt: Who is it?
Tom Ripley: It's Ripley.
Derwatt: The door is open.
See more »

Connections

Version of Ripley's Game (2002) See more »

Soundtracks

Too Much on My Mind
Written by Ray Davies
Performed by The Kinks
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User Reviews

Film noir and meditation are a bad combo
7 February 2005 | by (United States) – See all my reviews

Wim Wenders is one of my favorite filmmakers, and like Scorsese and Tavernier, he is a world-class cinephile, as much in love with watching movies as he is making them. The problem with 'The American Friend,' I think, is similar to the problem of most contemporary films noir, which is, it's made with the knowledge it's a film noir. But it fails for a different reason than, say, 'L.A. Confidential.' The latter film is simply a big-budget period reconstruction of film noir, like something from the candy sampler box of film genres. It has no life of its own and is sort of like the model they show you when you're shopping around for a home in a new development; the furniture's well-chosen and neatly in place, but no one lives there. Other contemporary noirs, like Altman's 'The Long Goodbye,' approach the genre from a revisionist angle, and 'The American Friend' does it from the wrong angle, from a cinephile's angle.

The movie feels studied, like an academic exercise. It has no edge, no spontaneity. One can appreciate the movie, its cheeky comment on the art world, its humanism, without really enjoying it, and that's the trouble.

I've seen the movie twice and while its bold primary colors were appealing, and its meditative pace pleasurable to an extent, I found it a bit of a chore. It's interesting to see noir slowed down to a crawl, and Nicholas Ray is a delight, and surely, some sequences are involving, but the whole affair is lacking. Wenders' intensity has always been augmented by a certain lightness of touch, and that's what made the noir elements of 'Until the End of the World' a lot of fun. 'The American Friend' is too austere, though. Too muted. I thought 'Purple Noon,' René Clément's 1960 adaptation of the other Patricia Highsmith novel, was too muted the first time I watched it, but on subsequent viewings thought it to be engaging, almost musically so. Metaphysical heaviness for once bogs down a Wenders film rather than enhancing it.


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