In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve a rich and spoiled millionaire playboy, named Dickie Greenleaf. But when the errand fails, Ripley takes extreme measures.
In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel In Cold Blood, Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
Philip Seymour Hoffman,
Clifton Collins Jr.,
After his friend, a hot young artist, is killed, a resourceful American man living in London covers up the crime and tries to keep the friend's name alive in order to exploit his legacy and... See full summary »
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
The opera shown on the film is the end of Act II from Tchaikovsky's "Yevgeny Onyegin." In this particular scene, Lenski challenged his friend Onyegin for a duel over Olga, who had been engaged to Lenski at that time. Lenski was mortally wounded, and Onyegin departed Russia for a self-imposed exile. See more »
When Peter and Tom go to meet Marge (at around 44 mins), on the left of the screen when the glass door closes, you can see the reflection of a microphone and a camera. 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 »
Good but the original was better...which is usually the case.
I had a much harder time watching "The Talented Mr. Ripley" compared to the average person. This is because I have already seen the original version, "Purple Noon" (1960 with Alain Delon). So all along, I knew where the film was going and how it would end. So, there was no suspense for me and I kept comparing the new film with an older film that I adored--making my enjoyment a bit muted for this Matt Damon film.
Normally, I might talk about the plot or how the two versions are different. However, this film is clearly a thriller with many exciting twists--so if I talk about it, I might give away what will happen. Suffice to say, in the Matt Damon version, what ultimately happens seems less planned and much more spontaneous--and certainly less evil. Both are very good films, however, well made and with lovely locale shooting and terrific acting. And, since they put a different spin on the plot, it would make for a great double-feature to watch them both. If asked to choose which one I'd like, I preferred the original film--but both are nice.
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