In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve Dickie Greenleaf, a rich and spoiled millionaire playboy. But when the errand fails, Ripley takes extreme measures.
The 1950s. Manhattan lavatory attendant, Tom Ripley, borrows a Princeton jacket to play piano at a garden party. When the wealthy father of a recent Princeton grad chats Tom up, Tom pretends to know the son and is soon offered $1,000 to go to Italy to convince Dickie Greenleaf to return home. In Italy, Tom attaches himself to Dickie and to Marge, Dickie's cultured fiancée, pretending to love jazz and harboring homoerotic hopes as he soaks in luxury. Besides lying, Tom's talents include impressions and forgery, so when the handsome and confident Dickie tires of Tom, dismissing him as a bore, Tom goes to extreme lengths to make Greenleaf's privileges his own. Written by
Fausto and Dickie (and Tom, later) sing "Tu Vuo' Fa' L'Americano," a humorous song about an Italian man in the 50s who wants to imitate the American lifestyle he sees in the movies. But American food doesn't do him any good and in the end, the money he spends comes from his mother's purse. See more »
During the opening scene in 1958 New York, the Sony Tower (formerly the AT&T Building), which was built in 1984, can been seen beyond the southern border of Central Park in several shots. See more »
If I could just go back... if I could rub everything out... starting with myself.
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The opening title uses all the adjectives of the complete title before cutting to the final "The Talented Mr. Ripley". See more »
A ravishing, emotionally complex, and heart-rending film of great elegance
Seeing this gorgeous tango between Damon and Law, I was never less than captivated and riveted. Minghella has fashioned something literate, powerful, seductive, charming, tragic, and beautiful. His casting is nearly perfect. Damon is unforgettable as an amoral but fascinating character whom we even sympathize with by film's end. Law is stunning as Dickie, the man whose life Ripley adores. Paltrow is good, though she is not given a whole lot to do. Blanchett is perfect in a small but pivotal role that only adds to her already impressive filmography. This is a near-masterpiece. Minghella's talent for visual opulence is second to none, and his work here should earn him a directing Oscar nod. The same goes for many others associated with this brilliant achievement. The ending is as unsuspected as it is inevitable, that is, sad and unsettling. In fact, the whole film underscores these emotions. Whereas Highsmith's original novel was cold and sometimes inert, the film makes Ripley much more of a living, breathing character, and as such, a great symbol of tragedy. It may be some time before I forget this intense experience. Certainly one that deserves multiple viewings. One of the best films of 1999. I think this may be one of the best pictures I have ever seen. Bravo everyone. A moving, rich knockout!
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