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Unbelievable Acting by Matt. The absolutely malicious evil behind a naive and guy-next-door face just grows on you. In fact, after a while, since you as the audience get to see his private moments you feel like his confidante and ultimately hate the fact that you are his confidante. It is almost like making a best friends with a innocuous guy and then being unable to get out of the relationship after realising he is a fiend. The guile and the pretences are shown as coming absolutely naturally to him, with absolutely no effort. Jude gets almost a guest appearance, so does Gwynyth and everyone else. They are all supporting cast to this one man show. But they do well with the briefs given to them. Howsoever used to this genre you are (thriller/drama), there would definitely be one gasp you would let out watching this one. There are these "moments", of absolute shock and cruelty, dealt out with absolute calm (no background crescendoes either!) So watch this if you are one for the drama/thrillers You will remember this definitely as the top 20 you ever saw
This film has all the attributes of a "good" Hollywood movie: nice scenery,
many slow scenes, better than poor acting etc. etc. Oh yeah, and the
homosexuality theme, of course. After watching it for 30 minutes I realized
I knew the story. Yes, it was Purple Noon, an old (1960) movie that I
watched and greatly enjoyed a few years back. Halfway through the movie
(TMR) I started to fast forward. The movie is trying to be sophisticated but
ends up being dead boring.
I haven't read the original novel so I don't know which of the two movies is closer to the original. It doesn't matter, anyway. The final scene of Purple Noon (as well as the entire film) was brilliant, the one in TMR was pathetic.
This film is highly overrated when it comes to the plot, the characters, the
setting and the location.
The fault is not the actors though. It is undoubtly Anthony Minghella's - he, who also directed the true stinker "The English Patient". Once again his love for the pittoresque Italy gives us a bizarre environment - showing us this pretty European country that gets so pretty it is grotesque.
Whenever Dickie or Tom or Marge or ANYONE passes the streets of Rome or Mongibello, there is either some nuns, a priest or a woman selling water melons! The Italy of it simply gets too Italian! And the characters dances as stars around in this poor, under developped but charming little country.
When it comes to the characters and the plot, it is evidently that Minghella has destroyed Patricia Highsmith's novel, which is quite allright. We never get to believe in Tom Ripley as a person, since he in Minghellas film simply gets too good at doing what he does. The foolishness peaks when the American detective Macmarron cannot see through his obvious lies. It is a shame for Matt Damon, who basically is being foolish in this film and never giving us an opportunity to see what he can do.
Dickie Greenleaf is actually the true hero of this film. I wish he had been killing Tom instead and so we could have been seeing some more of the talented Jude Law.
Gwyneth Paltrow's Marge is simply unbelieveable. People like her does not exist. And Gwyneth tries to save this poor fact by playing herself. So - Gwyneth is Gwyneth.
Cate Blanchett of course get a lot out of being Meredith - a blindfolded poor girl. I guess this film shows who really should have been given the Best Actress Oscar of '99....
Anthony Minghella means kitsch. As he is pouring people, things and Italy together in the way too beautiful pictures, he destroys finally this film. It is really a shame.
*** This review may contain spoilers ***
The Pros to this movie: Excellent Actors/Actresses; Excellent acting;
Very interesting story; Suspenseful; and Engaging.
The Cons to this movie: It's a bleak testament of human weakness and desperation that grew into extremes, which life is like, unfortunately, far too many times.
Some people thought the story was way too far fetched to be realistic. I disagree. I've seen these things, and I've also learned of numerous stories throughout human history that were even more extreme - and true.
Human nature is not always a beautiful thing. People can be among several people on a regular basis and have an adequate number of friends, yet still feel completely alone and isolated within their minds. The fear of loneliness, of an inadequate life, of not being accepted or truly loved can plague such a high percentage of people. All of us can experience those things at one time or another in life, yet there are those that are consistently and literally tormented with those fears.
This is a story of a such a man, who was given a very tempting offer, where an alternate opportunity of evil presented itself. He could have done the right thing to assist a father, as well as to positively influence that father's son in doing the right thing, yet, due to the character not tending to his mental/psychological ills, he choose that alternate opportunity, which lead to his, and to other's demise.
The story is completely believable. All we have to do is pick up the newspaper to realize that these kinds of things go on all around us, all over the world. And THAT is what makes this story so unsettling and frightening.
*** This review may contain spoilers ***
After the success of 'The English Patient', director Anthony Minghella
conceived of his next project as another adaptation (after Rene
Clement's 'Plein Soleil') of Patricia Highsmith's 1955 pulp novel 'The
Talented Mr. Ripley'. While Clement's version is generally excellent
and intelligently conceived, the censorship constrains of the era
rendered the film too subdued in its treatment of the homoerotic sexual
undertones of the source material to really have an impact on the
audience. Mingella's film, however, is substantially more explicit and
candourous in both its theme and content, permitting both for the
characters to be depicted in all their multifaceted and variable glory
and for a visceral degree of suspense to develop long before the bodies
even start piling up.
Concurrently a modernist exploration of film noir stressing the Byzantine plot schematics, dreamlike visuals, and behavioural factors of the genre's archetypes with delicious hyperbole and a conservative dissection of vanity and hedonism (something of a contrast with Highsmith's glorification of those things in her original novel), the film primarily looks at social status, with the work's two main characters Tom Ripley and Dickie Greenleaf (two excellent performances from Matt Damon and Jude Law representing the higher (Dickie) and lower (Tom) levels of the social taxonomy.
By using film noir's archetypes characters whom either allow their affluence or high social status to persuade them to pursue impossible goals or whom, if poor, obsess with 'making a quick buck' , Minghella is able to both mock the vices of high society and, through investing sympathy in Ripley's character through the indifferent and intermittently cruel behaviour that Dickie directs toward him, expose both the superficiality and the manipulative and temporal nature of a high social status (along with the 'la dolce vita' lifestyle it connotes). However, this point is most effectively illustrated not through Dickie's representation of the upper classes, but through Tom Ripley's destructive pursuit of them.
From the film's opening montage of Ripley's squalid existence in the ghettos of New York, we see his burning desire to be among a higher class of people surmised brilliantly with such images as him wiping a rich man's jacket in his capacity as a lavatory attendant and his forbidden look into a recital from behind the curtain of a personal booth. Ripley is willing to do practically anything to achieve a higher status; firstly becoming acquainted with jazz (which he clearly dislikes) as a means to befriend Dickie, then demonstrating all his skills of mimicry and forging, along with revealing the intent of his meeting Dickie, to preserve that friendship, to finally killing Dickie and stealing his identity.
As matters escalate, so do Ripley's methods of preserving his wrongfully-obtained status. He murders Dickie's inquisitive friend Freddie Miles (a Seymour Hoffman performance fleetingly glimpsed though worthy of a thousand accolades), fakes Dickie's suicide, attempts to murder Dickie's former fiancée Marge Sherwood (Paltrow in one of her better roles), and, in the film's haunting dénouement, murders Peter Smith-Kingsley (Jack Davenport), the only character in the whole film who has the potential to offer Tom some sort of salvation. And as Ripley's finally descends into an incubus of guilt and regret, the film finally presents his status anxiety as hubris with the line "I always thought it would be better, to be a fake somebody... than a real nobody."
Yet these reflections are simply the eventualities of the film's exploration of it's thematic concerns; what really matters is that this is a beautifully photographed (John Seale's best work), superbly scripted, wonderfully acted, exquisitely scored (Gabriel Yared channels Bernard Herrmann with such professional austerity that one would think that Yared is Herrmann's reincarnation), and, dare I write, 'talentedly' directed. This, for me, is Minghella's magnum opus!
The Talented Mr. Ripley (1999)
This is a truly great film. It sweeps you into another world without you even knowing it. And this other world is so beguiling and beautiful, and brimming with such elegant treachery, you wonder if it can be true.
Luckily, in a way, it is not. It's the fictional invention of Patricia Highsmith, most famous until now for the book behind the Hitchcock movie, "Strangers on a Train." Like that movie (also utterly gripping and deceptive), this one has characters rather like you or me, or an idealized you or me (we can't all live on the coast of Italy). And someone among us is secretly sick and devious. But a first note--and this is to the lovers of other Ripley movies--Matt Damon's Ripley isn't a faithful depiction of HIghsmith's. He's less gleefully awful. And more troubled on the inside. Maybe he shouldn't have been a "Ripley" at all, but you need to think of this as a creative, and different, version of the many other Ripley characterizaions.
And by the way, this isn't a crime film. You could be just as absorbed by the plot without any murderous edges. Director Anthony Minghella goes all out with archetypally vivid, perfect, wish-you-were-there scenes and sets. An outdoor jazz club in San Remo, open courtyards of Venice, a little village perched on rocks over the Mediterranean. The music is astonishing--mostly post-war American jazz, which one older character calls "insolent noise" though we know better, but also piano quartet, opera, and choral music. The light, the fluid camera (astonishing stuff), and the whole changing mise-en-scene as the movie plummets from pure joy to anger and disbelief and personal, wrenching despair.
Then there are the three actors who make their characters fully complex and fleshed out, with contradictions and nuances. And if Gwyneth Paltrow's fresh idealizing innocence and Jude Law's pretty boy enthusiasms and airy selfishness are extraordinary, surely Matt Damon's interloping and bewildering cleverness takes the cake. He's so convincing you shake your head. The fact he didn't win an Oscar for this is surprising (he didn't even get nominated), but the performance is still there to enjoy. Law (who did get nominated) is also a joy to watch, a kind of idealized male most women would quickly give their right arm to be with.
All three are their best here. Equally amazing are the two secondary actors with huge roles, Cate Blanchett as a charming and perplexed young traveller and Philip Seymour Hoffman as an annoying but ultimately perceptive "ugly American." The five of them fit their roles together like fingers in two clenched hands. When things happen you think, yes, of course, how terrible, how perfect, even if it is, as Andrew Sarris wrote at the time, "wall to wall amorality."
Minghella, before his premature death, talked about how difficult this film was to make because of its uncompromising locations. Venice, in particular, was hell to get permission to film in, with all the open spaces he had to clear of tourists and residents, and he implied he wouldn't do it again. You get the feeling this is an exceptional film this way top to bottom. That no corners were cut, where the actors gave it something above and beyond. And where they had terrific material to start with. Minghella himself adapted Highsmith's book into a screenplay. Or I should say books--Mr. Ripley is a character in five novels, though the first is the main source here.
Is it flawless? Who's to say. Others think not--mostly because they envision Ripley differently. But don't be stuck with what the books, or earlier movies, suggest. Also, the relationship between Blanchett's insecure woman and Damon's slippery self isn't quite right, perhaps, and Hoffman's role is too spectacular to be so brief, in a way. You do also wonder at the ultimate ending, if there is enough probability to the father's conclusion, so willing to put it all, bitterly, in the past. Maybe. These are quibbles on a journey that is really engrossing and a pleasure. Let it suck you in and you'll be completely happy you're there, even through the slowest , beautiful parts.
*** This review may contain spoilers ***
Tom Ripley (Matt Damon) works in a music hall and wishes, so, so much, that he was rich. He did attend an Ivy league school but, as a scholarship student, he was never in the limelight. A chance encounter with Mr. Greenleaf, a wealthy gentleman, results in a European vacation for Tom. This is because Mr. Greenleaf is hoping young Mr. Ripley can persuade his ex-patriot son, Dickie Greenleaf (Jude Law) and his beautiful girlfriend, Marge (Gwyneth Paltrow) to return to the United States. But, once there, Tom gets caught up in joining Dickie and company in their "high life" existence, for Dickie assumes that Tom is a rich classmate he just never really knew. Only one friend (Phillip Seymour Hoffman) suspects that Mr. Ripley is not who he seems. Things get even more complicated when a boat trip taken by Dickie and Tom goes tragically awry. Will Tom's insatiable wealth-envy destroy the lives of those around him? This is a first-rate film, no matter what others have written about it. It has a sensational plot, a wonderful cast, and is gloriously lovely to look at, with its exotic locales and great costumes. As the principal cast member, Damon is excellently subdued in a most difficult and complicated role. Law, Paltrow, Hoffman, and all of the lesser cast members are great, also. Then, too, the direction is energetic and tantalizing, giving full fruition to the ingeniously sinister plot. In summary, don't skip this one, if you care about classic suspense films. Many a viewer will find it a great, great watch.
`The Mysterious Yearning Secretive Sad Lonely Troubled Confused Loving
Musical Gifted Intelligent Beautiful Tender Sensitive Haunted Passionate
Talented Mr. Ripley' is too good a movie to explain why its so good.
Basically, the feel is fantastic. The ambience and violence subtly
in the silence of its emotions is enigmatic. This movie captures the
of the original novel and every scene in the film justifies its
The screenplay, direction, the cast and location are most appropriate and do full justification to the story. Matt Damon excels in the role of Tom and is able to portray the emotions that Tom goes through in adverse situations extremely well. The adoration of Dickie turning into the desire to be exactly like Dickie, the anger and hurt caused by Dickie's indifference and rejection, the tumult after the realization of his actions, the panic on being discovered by Freddie and Marge, the immediate recovery from panic into the grim resolve to nip the trouble in the bud, the acceptance of the unfortunate but necessary elimination of Peter, everything has been enacted out by Matt Damon beautifully and his is a truly outstanding performance, worthy of the Oscar.
This film is true to the portrayal of Ripley's mind at work. The depiction of the frustrations of being a real nobody in a world which demands lot more than it can give forces people to try to become a fake somebody is brilliantly exhibited in each scene. The human mind is a labyrinth of pleasure and pain and it rationalizes each act of aggression with justifications created and accepted by the mind itself. Even the sense of success and failure in life is controlled by the mind and the illusion is sometimes too great to overcome.
This movie provoked me into reading Patricia Highsmith's book and the later Ripley novels to track the growth of the central character. I have yet to read "Ripley Underwater" though.
*** This review may contain spoilers ***
Possible spoiler at the tail end of my comments.
Did you ever see that episode of Frasier where he lies to his date and it goes from bad to worse and then he really starts lying to save the situation but it only makes it worse then ....
I hate stories that rely on this tactic to explain behaviour, build suspense or otherwise tell a story. This movie heavily uses the spiraling lie tactic. The movie is very slow to start, has fabulous scenery, good acting and great cinematography. The spiraling lies and an improbable story full of holes left me very disappointed.
I did love the ending. On the stern of the ship after Tom has kissed Meredith (Cate Blanchett), who does she look at and smile to just before the scene ends? That and the closet lurker really left me thinking about the possibilities.
I'm convinced that when you watch this movie you either going to absolutely love it or truly despise it. The Talented Mr. Ripley opens to a group of black lines running up and down the screen, much like the beginning of Psycho, and continues on the same level as the classic all the way throughout the film. Matt Damon gives a chilling performance as Tom Ripley, a 1950's sociopath with a love for the piano. While borrowing a Princeton jacket from someone to tickle the ivories, Tom runs into Mr. Greenleaf who mistakes Tom for a Princeton graduate, therefore associating him with his playboy son, Dickie, played perfectly by Jude Law. Mr. Greenleaf offers Tom $1,000 to go to Italy and bring back his spoiled brat. Being nothing but a poor boy, Tom does not correct the man on his assumption and gladly takes the trip and money. While in Italy, Tom meets up with Dickie and his betrothed Margie, Gwyneth Paltrow, convincing them, as he had done with Mr. Greenleaf, that he knew Dickie from college. Dickie and Tom strike up an instant friendship, and perhaps more, making each the brother the other never had. As the story progresses, it does not turn into a typical slash and gash flick, but a slower-paced, tense psychological thriller, putting you directly into the mind of a truly disturbed man, and in doing so, making you actually root for the bad guy. Tom Ripley is the obvious villain, but you just cannot help but like him. Making Tom so enjoyable is his complexity, and the disgust you feel for the other characters. Tom is confused man with motives that do not depend on revenge or hatred, but love. When Tom meets his socialite companions, he believes they actually care him. Margie puts out an `I'll be your best friend' demeanor while Dickie confuses Tom, who is already flustered by his sexuality, into believing he loves him. Dickie is a spoiled, rude, angry, adulterer, his girlfriend is an overbearing back-stabber, his best friend, is almost as bad as Dickie himself, and then there's Meredith, another pampered, egocentric rich girl. With a group of `innocent' victims like this, it is no wonder that Tom becomes the most amicable. Anthony Minghella combines lush landscape, spine-tingling music, and deliberate pacing to create a chilling classic. True-to-life characters, exotic locations, a conceivable story, and the surprise of homosexual overtones, we are given a film that will, no doubt, go down in cinematic history as a landmark masterpiece. Every performance is right on the money. Matt Damon has that boy-next-door look that really scares you into thinking that anyone could be a psychotic murderer. Where many actors would overdo Ripley by giving him evil grins or wide eyes around every corner, Matt Damon underplays this and makes Tom frighteningly realistic. Along with him, the supporting actors are excellent. Jude Law manages to pull off an American accent to perfection and turns Dickie Greenleaf from a self-centered rich boy into a hated bastard. Gwyneth Paltrow and Cate Blanchet are also wonderful in their contrasting female leads, Philip Seymour Hoffman pulls off another great performance as Freddie, Dickie's counter spoiled-brat, and Jack Davenport is incredible as Peter, the only character that is actually ultimately good-natured. Sensational direction, superb casting, and a tight-locked script make The Talented Mr. Ripley one of the 10 Best films of the year. A+! A chilling good time!
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