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.
Set in 1938 Berlin, Louise Von Hollendorf is the wife of a young Nazi diplomat who meets and falls in love with a certain Mitsuko Matsugae, an artist and the daughter of the Japanese ... See full summary »
At a wake one night in 1945, a group of aged women recall the life of one of their number. Sixty years before, Thérèse was barely 20 years old when she eloped with her boyfriend, Firmin, a ... See full summary »
A series of copycat murders will challenge the preconceptions of the brilliant academic Angela and her lifelong studies of death and its rituals, throwing Angela into collaboration with one of the world's foremost mediums.
Fausto's mother refuses to accept the fact that her child is deaf, and refuse to send him to a special school where he can learn sign language. His aunt, though, teaches him to communicate,... See full summary »
Leo, dopo un incidente stradale, è ricoverato in ambulatorio e racconta al professore Bennet, suo medico curante, la storia e le gesta del monaco tibetano Milarepa, con il quale si ... See full summary »
Tom Ripley - cool, urbane, wealthy, and murderous - lives in a villa in the Veneto with Luisa, his harpsichord-playing girlfriend. A former business associate from Berlin's underworld pays a call asking Ripley's help in killing a rival. Ripley - ever a student of human nature - initiates a game to turn a mild and innocent local picture framer into a hit man. The artisan, Jonathan Trevanny, who's dying of cancer, has a wife, young son, and little to leave them. If Ripley draws Jonathan into the game, can Ripley maintain control? Does it stop at one killing? What if Ripley develops a conscience? Luisa prepares for her concert. Written by
In Patricia Highsmith's original novel, most of the action takes place in France, not Italy, Tom Ripley and Jonathan Trevanny are both married to Frenchwomen who are named Heloise and Simone, not Luisa and Sarah. The character of Reeves is also different, in the novel he is an American fence whose motives are more obscure than they are depicted in the movie. See more »
When Ripley and Trevanny leave the train station, they are supposed to have arrived in Düsseldorf. The approaching police cars have license plates with a 'D' designating them to be in Düsseldorf. However, behind the police cars, the letters "City Carré Passage" can be seen on a building. There is no shopping area with this name in Düsseldorf. They are still in Berlin, at the main train station. See more »
One of them's still alive.
How do you know?
Well, I heard it on the world news.
Jesus. I always figured you for a talk radio man. Okay, well, I guess I didn't strangle him long enough. It's not like a garrote comes with a manual.
Ah, one of them got a very, very good look at me.
Jonathan, that's the first rule of the game. Don't ever worry about anything you can't control, ever. Anyway, I don't think they can trace us here and if they get close, I'll let you know.
What about my family? I'm just...
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Ripley's Game is the third Ripley story (by Patricia Highsmith) to be filmed, following 1960's Purple Noon (with Alain Delon as Ripley) and 1977's The American Friend (with Dennis Hopper as Ripley). Purple Noon was later remade as The Talented Mr. Ripley (1999), with Matt Damon as Ripley, and here The American Friend is remade, with John Malkovich as Ripley.
In this story, Ripley's all grown up and has become quite the conniving scoundrel. Phrases like that are best at depicting the completely amoral Ripley, especially when put against a backdrop of Germany and Italy and Old Europe in general. It's not that Ripley doesn't care, it's that... well, okay, it's that Ripley doesn't care.
Ripley's pal Reeves (Ray Winstone) has a job that needs to be done, but when he asks Ripley to handle it, our resident evil-doer demurs - he has a better murderer in mind. Jonathan Trevanny (Dougray Scott) is a framemaker whose son has leukemia. Ah, the perfect man for the job. Ripley offers Trevanny a lot of cash, drawing the innocent into his game.
The main problem with the movie is that there's no real urgency, no sense of peril. We understand from the get-go that Tom Ripley's a sociopath, but we're given no clues as to his intentions or motivations. And adding to the ennui is Malkovich himself. Ordinarily, I can't think of anyone better at playing a conniving scoundrel (see him in 1988's Dangerous Liaisons), but Malkovich is so understated in this role that often you can hardly hear what he's saying! For the lead character to be so quiet and unassuming ought to be a federal offense. What was the director thinking?
But even if the performance was stronger, the plot itself is rather pedestrian. Oh, sure, you get pretty scenery (it's well photographed), but the twists and turns are really a simple matter of connecting the dots. Almost any fool could see how this one ends.
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