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| Ray Winstone | ... | Reeves | |
| John Malkovich | ... | Tom Ripley | |
| Uwe Mansshardt | ... | Terry | |
| Hanns Zischler | ... | Art Dealer | |
| Paolo Paoloni | ... | Franco | |
| Maurizio Lucà | ... | Franco's Assistant | |
| Dougray Scott | ... | Jonathan Trevanny | |
| Evelina Meghnagi | ... | Maria | |
| Chiara Caselli | ... | Luisa Harari | |
| Lena Headey | ... | Sarah Trevanny | |
| Sam Blitz | ... | Matthew Trevanny | |
| Emidio La Vella | ... | Shoe Shop Owner (as Emidio Lavella) | |
| Lutz Winde | ... | Ernst | |
| Nikolaus Dutsch | ... | Dr. Wentzel (as Nikolaus Deutsch) | |
| Wilfried Zander | ... | Belinsky | |
| Hendrikje Fitz | ... | Teacher in Zoo | |
| Francesca Ventura | ... | Hotel Maid | |
| Yurij Rosstalnyj | ... | Guleghin | |
| Ronnie Paul | ... | Gregory | |
| Thomas Bloem | ... | Bodyguard on Train | |
| Oliver Hanisch | ... | Gangster | |
| Soncke M. Korries | ... | Gangster (as Sonke Korries) | |
| Rene Lay | ... | Gangster |
Directed by | |||
| Liliana Cavani | |||
Writing credits | ||
| Charles McKeown | (written by) and | |
| Liliana Cavani | (written by) | |
| Patricia Highsmith | (novel) | |
Produced by | |||
| Simon Bosanquet | .... | producer | |
| Marco Chimenz | .... | executive producer | |
| Cam Galano | .... | executive producer (as Camela Galano) | |
| Ileen Maisel | .... | producer | |
| Rolf Mittweg | .... | executive producer | |
| Mark Ordesky | .... | executive producer | |
| Russell Smith | .... | executive producer | |
| Rudi Teichmann | .... | service producer | |
| Riccardo Tozzi | .... | producer | |
Original Music by | |||
| Ennio Morricone | |||
Cinematography by | |||
| Alfio Contini | |||
Film Editing by | |||
| Jon Harris | |||
Production Design by | |||
| Francesco Frigeri | |||
Art Direction by | |||
| Giovanni A. Scribano | |||
Set Decoration by | |||
| Verde Visconti | |||
Costume Design by | |||
| Fotini Dimou | |||
| Raffaella Fantasia | |||
| Alberto Verso | |||
Makeup Department | |||
| Carlo Barucci | .... | chief hair stylist | |
| Enrico Iacoponi | .... | key makeup artist | |
| Francesca Jacoponi | .... | hair stylist | |
| Lena Lazzarotto | .... | makeup assistant: Germany | |
| Katia Sisto | .... | makeup artist | |
| Gino Zamprioli | .... | makeup artist | |
Art Department | |||
| Biagio Fersini | .... | first assistant art director | |
| Alfonso Fortunati | .... | painter | |
| Matthias Kroul | .... | swing gang: Germany | |
| Pietro Masotti | .... | prop man | |
| Riccardo Passanisi | .... | property master | |
| Mauro Passi | .... | lead man | |
| Leonardo Puccini | .... | second assistant art director | |
| Dörte Schreiterer | .... | assistant prop man: Germany | |
| Hendrik Schulz | .... | swing gang: Germany | |
| Donato Tieppo | .... | prop buyer | |
| Thierry Toscan | .... | prop man | |
| Heike Wolf | .... | draughtsperson: Germany | |
Sound Department | |||
| Lydia Andrew | .... | assistant sound editor | |
| Gareth Bull | .... | foley recordist | |
| Matthew Desorgher | .... | boom operator | |
| Robert Farr | .... | dialogue mixer | |
| Richard Fettes | .... | foley editor | |
| Stan Fiferman | .... | foley artist | |
| Diane Greaves | .... | foley artist | |
| John Hayward | .... | sound re-recording mixer | |
| Christopher Lloyd | .... | supervising sound editor | |
| Ian Macbeth | .... | assistant sound editor | |
| Hugo Middleton | .... | adr & dialogue editor | |
| Richard Pryke | .... | assistant sound re-recording mixer | |
| John Rodda | .... | sound mixer | |
| Brian Simmons | .... | sound mixer | |
| Richard Street | .... | preview re-recording mixer | |
| Andy Thompson | .... | dialogue mixer | |
| David Abrahamsen | .... | sound re-recording mixer (uncredited) | |
| Andrew Caller | .... | sound technician (uncredited) | |
Special Effects by | |||
| Maurizio Corridori | .... | special effects supervisor | |
| Silvano Scasseddu | .... | special effects foreman | |
Visual Effects by | |||
| Mark Bakowski | .... | digital compositor | |
| Angus Cameron | .... | digital effects supervisor | |
| Sharon Lark | .... | visual effects producer | |
| Sarah Lockwood | .... | digital compositor | |
| Andy Stevens | .... | visual effects supervisor: Millfilm | |
| Christopher Grandel | .... | trailer digital effects, Howard Anderson Company (uncredited) | |
Stunts | |||
| Oliver Hanisch | .... | stunts | |
| Ronnie Paul | .... | stunt coordinator | |
Casting Department | |||
| Tina Böckenhauer | .... | additional casting: Germany | |
| Louis Elman | .... | adr casting | |
| Benson Weingarten | .... | additional casting: Germany | |
| Fiona Weir | .... | casting assistant | |
Editorial Department | |||
| Kevin Ahern | .... | first assistant editor | |
| Pasquale Cuzzupoli | .... | color consultant | |
| Christopher Lloyd | .... | first assistant editor | |
| Geraldine Patten | .... | post-production assistant | |
| Stephen R. Sheridan | .... | color timer | |
Music Department | |||
| Angelo Giovagnoli | .... | orchestra coordinator | |
| Fabio Venturi | .... | music scoring engineer | |
Transportation Department | |||
| Mario Campagna | .... | transportation captain | |
| Elio Cecchin | .... | driver | |
| Manuel Katzy | .... | transportation captain: Germany | |
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| Full cast and crew | Company credits | External reviews |
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The 2002 version of RIPLEY'S GAME compares favorably to Wim Wenders's film from 1977, THE AMERICAN FRIEND. Director Cavani is adept at staging scenes so that they are always interesting and compelling. The film has a sure sense of forward thrust, which is indispensible for this type of material. And Cavani conjures up some superior acting from all the principals in the cast. It is easy to be impressed with John Malkovich's quiet malevolence as Ripley. The mannered actor rivets his character from the opening, a marvelously paced sequence leading to a swift climax that hooks the viewer for the rest of the film. Ray Winstone and Lena Headey are more than adequate in their support as well. If Ripley is the brain of the story, it is Jonathan, Ripley's tormented victim, who must be the heart of it. And this is why RIPLEY'S GAME is so fascinating and involving. We are drawn to the machinations and danger, but also moved by Jonathan's tragic implication. As good as the superb Bruno Ganz is with Wenders, Dougray Scott in the present film may even be slightly better. This is the kind of role that demands everything from an actor, and Scott delivers it all with complete conviction. It's an example of perfect casting, and Scott deserves to be applauded for it.
Beautifully shot by Alfio Contini, and scored with genius by Ennio Morricone, RIPLEY'S GAME does not quite approach the stylistic brilliance of Wenders's mournful cityscapes in THE AMERICAN FRIEND. But Malkovich's performance is at least the equal of Dennis Hopper's and Dougray Scott gives Bruno Ganz more than worthy competition.
Highly recommended.