In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve Dickie Greenleaf, a rich and spoiled millionaire playboy. But when the errand fails, Ripley takes extreme measures.
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
John Malkovich remarked in an interview with the BBC that he came close to directing "The Talented Mr. Ripley" and that he was in negotiations to obtain the rights to direct a remake of the first "Talented Mr Ripley" adaptation, Purple Noon (1960). Malkovich later played Tom Ripley in Ripley's Game (2002). See more »
When Ripley and Peter take the ship to Greece, the sun sets to the port side of the ship, indicating that the ship is traveling roughly northwards instead of eastwards as it should be if it's sailing from Italy to Greece. 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 »
First of all, I saw this movie twice, which is a rarety in itself these days. The actors did what all actors should do in a successful motion picture, or stage play, and that is submit their own egos to the needs of the production. Matt Damon especially surprised me with his total devotion to the part of Ripley. Jude Law, once again, proved his talents as an actor by becoming Dickie Greenleaf. Paltrow and Blanchett also totally believed in whom they were playing and brought that to the screen. While I have been told that the movie is different than the book, I applaud Mingella for his tight script and seamless direction. Yet again, we are given a prime example that when violence grows out of a strong plot we, as an audience, accept it. There was not wasted motion or emotion in this film and I cannot say enough good things about it. I am surprised that the Academy so overlooked this film. Go see it.
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