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
Jonathan Zimmermann, a picture framer in Hamburg is diagnosed as having leukemia. Ripley, an American art dealer who deals in forgeries, uses this fact to arrange for a mob associate of his to recruit Zimmermann as a hit man. Zimmermann agrees to this to ensure his family's financial future. Zimmermann descends into a nightmare world of deceit and double dealing. The narrative acts as a metaphor for the relationship between American (Hollywood) and post-war German culture. The appearance of several Hollywood directors in cameo roles underlines this. Written by Nabeel Ali <okhafaji@direct.ca>
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