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.
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
Tom Ripley presents Marge with a bottle of perfume from Santa Maria Novella, the same perfumer who concocted Hannibal's telltale fragrance in Hannibal (2001). See more »
When Marge arrives in Venice at the Santa Lucia railways station you can spot in the background on the other side of the canal one of the very few modern buildings of Venice. It is obvious that this building was built much later than 1958 when the story is supposed to take place. 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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