841 reviews
- marcosaguado
- May 1, 2005
- Permalink
- spookyrat1
- May 10, 2019
- Permalink
Patricia Highsmith's Tom Ripley gets a deluxe reincarnation here, merit of the talented Mr. Minghella. A sensational script adaptation, stunning Italian locations and an extraordinary supporting cast. Tom Ripley saw the light before, most memorably with the face of Alain Delon in another beautiful outing by the underrated Rene Clement. This time, the winning feature is the superbly tailored script that gets inside the heads of the characters giving us a full panoramic view of their privileges as well as their desolation. Tom Ripley, the amoral, becomes the tortured immoral here. Anthony Minghella gives him a conscience, a self-awareness giving the tale an extra chilling touch. Matt Damon's natural dullness works wonders here. This may be his best performance to date. But it is the supporting cast that makes "The Talented Mr. Ripley" fly so high. Jude Law as the spoiled, vain and ultimately cruel Dickie Greenlef is truly remarkable. His worthlessness, crystal clear for everyone to see, becomes irrelevant due to the astonishing charisma and oodles of sexiness that Jude Law exudes. That, in itself, makes Gwynneth Paltrow's character totally believable. She's an intelligent woman who must know Dickie for what he is but she puts that aside and we don't question it. Philip Seymour Hoffman's Freddie is a fully fleshed out character who's on the screen for a few minutes but leaves and indelible impression. Great fun to witness his two faces. Creepy and wonderful. But it is Cate Blanchett, in a creation worthy of W Somerset Maughan that becomes the icing on this scrumptious cake. I would love to see a film where her Meredith is the central character. This "Talented Mr. Ripley" cemented my film relationship with Anthony Minghella. I wait for his films with childish anticipation.
- littlemartinarocena
- Oct 9, 2007
- Permalink
Duality -- the ability to be one person in a certain situation, and another in another -- is the underlying and pervading theme of "The Talented Mr. Ripley." It is a theme that sparks the central conflict of the picture, that influences each of the main character's decisions and actions. Each character in the film is either pretending to be something else, or playing directly to a superficial identity. The film unravels each of the character's motivations for doing so, and in so doing strips away the layers of reality we construct for ourselves. Characters either uncover the explicit duality of their lives (Cate Blanchette's willingness to admit that she travels under another name), or have it uncovered for them (Tom Ripley). When each character is laid bare, when each character is most fully themselves, when each character stops acting and pretending, they are undone.
The film presents a main character who does his best to pursue another life -- but he cannot ultimately follow through with it. We are trapped by who we are, aren't we? Gwyneth tries to become Dickie's ideal woman, to avoid asking him to settle down, but she cannot -- she wants the home and the family. This is her undoing -- she weeps in the film, "I must have pressured him". Dickie can't escape the fact that he loves the nightlife -- that he strays, that his attention only lasts as long as the diversion. He says he will marry Gwyneth, but we know that his eye can never stop roaming. This is his undoing. Dickie's pal -- superficially polite, while snide and arrogant at the same time -- is much smarter than he appears, which leads to his undoing as well. When each of the characters lets their guard down and becomes who they are, it destroys them. Each of the characters has a tragic flaw that they try to ignore, or play to, a flaw which undoes the perfect lives they all pursue.
The ironic twist is that Tom Ripley is the catalyst for all of this -- yet, his tragic flaw is that he has no flaw. While each of the main characters has an identity they are running from, Ripley HAS no identity to speak of. He starts out pretending, and he pretends through the entire film. Who IS Tom Ripley? Even Tom himself wants to know. One would think that this would enable him to become the perfect actor -- when you paint on a blank canvas, one would think you can paint anything. But even Tom, blank as he is, distills down to someone -- even if it is a blank canvas, a "real nobody." And it is not only himself he is unsure of -- it is the entire world around him. Among his first lines in the film is a line uttered while listening to a jazz record -- he mumbles to himself, "Can't tell if it's a woman or a man." It is this uncertainty that informs the world he sees, and how he relates to it. Is Tom gay or straight? Is he evil or good? Even Tom doesn't know.
The film points out that we cannot run from our own darker half. We are all tempted to become someone else -- anyone who has been made fun of in school, who has longed for the life of the rich and famous, can identify with this The enemy is not without, it is within. It is this same duality which haunted and tormented so many of Hitchock's characters, most notably (but not exclusively) Norman Bates in "Psycho." "The Talented Mr. Ripley" is a worthy heir to that film classic in its ability to get the audience to sympathize and empathize with Tom. We feel his love for Dickie Greenleaf -- we feel his frustration at being shut out of his life -- we feel the awkwardness of being trapped in a situation that was never intended. As we watched Marion Crane's car pause in the swamp and waited breathlessly, perversely hoping it would sink and allow Norman's mother to get away with murder, so too we watch Tom Ripley descend into darkness, and when the cops arrive at his hotel, we wait breathlessly with Tom, hoping he will get away.
Duality is present within us all... and while we are taught "to thine own self be true," in this film it is only when we are true to ourselves, that true pain comes.
The film presents a main character who does his best to pursue another life -- but he cannot ultimately follow through with it. We are trapped by who we are, aren't we? Gwyneth tries to become Dickie's ideal woman, to avoid asking him to settle down, but she cannot -- she wants the home and the family. This is her undoing -- she weeps in the film, "I must have pressured him". Dickie can't escape the fact that he loves the nightlife -- that he strays, that his attention only lasts as long as the diversion. He says he will marry Gwyneth, but we know that his eye can never stop roaming. This is his undoing. Dickie's pal -- superficially polite, while snide and arrogant at the same time -- is much smarter than he appears, which leads to his undoing as well. When each of the characters lets their guard down and becomes who they are, it destroys them. Each of the characters has a tragic flaw that they try to ignore, or play to, a flaw which undoes the perfect lives they all pursue.
The ironic twist is that Tom Ripley is the catalyst for all of this -- yet, his tragic flaw is that he has no flaw. While each of the main characters has an identity they are running from, Ripley HAS no identity to speak of. He starts out pretending, and he pretends through the entire film. Who IS Tom Ripley? Even Tom himself wants to know. One would think that this would enable him to become the perfect actor -- when you paint on a blank canvas, one would think you can paint anything. But even Tom, blank as he is, distills down to someone -- even if it is a blank canvas, a "real nobody." And it is not only himself he is unsure of -- it is the entire world around him. Among his first lines in the film is a line uttered while listening to a jazz record -- he mumbles to himself, "Can't tell if it's a woman or a man." It is this uncertainty that informs the world he sees, and how he relates to it. Is Tom gay or straight? Is he evil or good? Even Tom doesn't know.
The film points out that we cannot run from our own darker half. We are all tempted to become someone else -- anyone who has been made fun of in school, who has longed for the life of the rich and famous, can identify with this The enemy is not without, it is within. It is this same duality which haunted and tormented so many of Hitchock's characters, most notably (but not exclusively) Norman Bates in "Psycho." "The Talented Mr. Ripley" is a worthy heir to that film classic in its ability to get the audience to sympathize and empathize with Tom. We feel his love for Dickie Greenleaf -- we feel his frustration at being shut out of his life -- we feel the awkwardness of being trapped in a situation that was never intended. As we watched Marion Crane's car pause in the swamp and waited breathlessly, perversely hoping it would sink and allow Norman's mother to get away with murder, so too we watch Tom Ripley descend into darkness, and when the cops arrive at his hotel, we wait breathlessly with Tom, hoping he will get away.
Duality is present within us all... and while we are taught "to thine own self be true," in this film it is only when we are true to ourselves, that true pain comes.
I was so fascinated by Tom Ripley's character that I watched this movie again and again. There was something about him that I felt sympathetic towards on one hand and gave me the creeps on the other. Sympathetic because in more than one ways he is like you and me. He wants to be rich, he wants approval and he is may be just an opportunist. Creepy because he latches on like a leech, he can't take rejection and though he doesn't plan but once he assumes the identity of someone else he can go to any extent to keep that. Actually one can identify with the character so much that it's almost scary to look inside your dark corners.
Matt Damon played this three-dimensional character so well that I almost became a huge fan of his. Jude Law as Dickie Greenleaf, whose identity Tom Ripley steals was very good as well. The movie is shot in Italy, moves at a leisurely speed and is very atmospheric. One of my all time favorite thrillers.
Matt Damon played this three-dimensional character so well that I almost became a huge fan of his. Jude Law as Dickie Greenleaf, whose identity Tom Ripley steals was very good as well. The movie is shot in Italy, moves at a leisurely speed and is very atmospheric. One of my all time favorite thrillers.
- agrawalmannu
- Oct 2, 2005
- Permalink
If you add up all the various aspects of this film, it should have been terrific. It had a hot and talented young cast, all of whom gave good to great performances. It had wonderful locations, costumes, props and music. It had an intriguing plot. And yet by the end all I felt was ennui.
This was a case of a director who couldn't induce the full potential out of his various resources. Anthony Minghella does a fine job on the cinematography and choice of beautiful locations in Italy, but his crafting of the story left it predictable and flaccid. This was supposed to be both a character study and a thriller. It was inadequate on both counts.
In a well made character study the viewer will come to understand the motivations of the characters. This film never delivers in this regard. The only character that was well developed was Dickie (Jude Law). Marge (Gwyneth Paltrow) was a mystery, just a hanger on. Meredith (Cate Blanchett) was nothing more than a plot device. But the biggest reason it came up short was because the motivation of Ripley (Matt Damon) was left too ambiguous. Was Ripley a cunning con man orchestrating a grand caper, an inept interloper who bungled his way through a propitious opportunity, a victim of circumstances, an unrequited gay lover who committed a crime of passion and then needed to cover his trail? Take your pick. Minghella doesn't tell the story in a way that makes this clear.
As a thriller, it lacked surprise. Every murder was telegraphed. The private investigator gives Ripley a pass at the end, obviating the need for Ripley to provide some clever explanation for all the inconsistencies. There was not a single twist in the entire film. It had all the intrigue of playing open handed bridge.
For all the raves I've read about Matt Damon's performance, I found it rather uneven. Sometimes he came across as a clever mastermind and at others a wounded puppy. It seemed like he wasn't really sure how to play the character. Again, I put the responsibility for this on Minghella. I'd call it a generally good performance of a difficult character, but not even close to his dynamism in Good Will Hunting'.
This was a shining moment for Jude Law who gave a career performance as Dickie. He basically stole the show out from under Damon's nose. He endowed his character with exuberance, and a cavalier live-for-today attitude that made him charismatic despite his callousness and irresponsibility. I enjoyed his performance in the unheralded Music From Another Room' but this one was even better. If he keeps improving like this, he will be a force to be reckoned with.
I rated this film a 6/10 on the strength of Law's performance and the cinematography. The telling of the story fell flat and robbed this film of its real potential.
This was a case of a director who couldn't induce the full potential out of his various resources. Anthony Minghella does a fine job on the cinematography and choice of beautiful locations in Italy, but his crafting of the story left it predictable and flaccid. This was supposed to be both a character study and a thriller. It was inadequate on both counts.
In a well made character study the viewer will come to understand the motivations of the characters. This film never delivers in this regard. The only character that was well developed was Dickie (Jude Law). Marge (Gwyneth Paltrow) was a mystery, just a hanger on. Meredith (Cate Blanchett) was nothing more than a plot device. But the biggest reason it came up short was because the motivation of Ripley (Matt Damon) was left too ambiguous. Was Ripley a cunning con man orchestrating a grand caper, an inept interloper who bungled his way through a propitious opportunity, a victim of circumstances, an unrequited gay lover who committed a crime of passion and then needed to cover his trail? Take your pick. Minghella doesn't tell the story in a way that makes this clear.
As a thriller, it lacked surprise. Every murder was telegraphed. The private investigator gives Ripley a pass at the end, obviating the need for Ripley to provide some clever explanation for all the inconsistencies. There was not a single twist in the entire film. It had all the intrigue of playing open handed bridge.
For all the raves I've read about Matt Damon's performance, I found it rather uneven. Sometimes he came across as a clever mastermind and at others a wounded puppy. It seemed like he wasn't really sure how to play the character. Again, I put the responsibility for this on Minghella. I'd call it a generally good performance of a difficult character, but not even close to his dynamism in Good Will Hunting'.
This was a shining moment for Jude Law who gave a career performance as Dickie. He basically stole the show out from under Damon's nose. He endowed his character with exuberance, and a cavalier live-for-today attitude that made him charismatic despite his callousness and irresponsibility. I enjoyed his performance in the unheralded Music From Another Room' but this one was even better. If he keeps improving like this, he will be a force to be reckoned with.
I rated this film a 6/10 on the strength of Law's performance and the cinematography. The telling of the story fell flat and robbed this film of its real potential.
- FlickJunkie-2
- Jun 28, 2000
- Permalink
One of the last great movies of the 20th century,
Yes I was so surprised to see it so low I really expected it to be 8.3 or something like that,
- robhingston
- Sep 20, 2019
- Permalink
Brad Pitt, Leonardo DiCaprio, Johnny Depp, even his co-star in 'The Talented Mr. Ripley', Jude Law, all have seem to have suffered from the same audience-inflicted disease as Matt Damon. The diagnosis? They gather acclaim more on their "good looks" than their actual on-screen performances. This can lead to some (like Brad Pitt) becoming criminally undervalued actors especially when it comes to awards seasons. The group- that includes Damon- are overlooked and disregarded time after time, and I feel he was simply ignored for his turn as Tom Ripley.
We begin the film knowing that Ripley is a smart man. He constantly decieves every person he comes across, applying his fake demeanor and faux grin, a feat which is first seen as he approaches the young Dickie Greenleaf and Dickie's girlfriend, Marge whilst on a beach in sunny Italy. Ripley reminds Dickie how they were both students at Princeton University in New Jersey, and although his memory isn't jogged, Greenleaf allows Ripley to tag along with him as he enjoys himself in Southern Europe.
My memory, however, was certainly jogged around 40 minutes into this movie as I realised the range and capability of the lead man here. In just two years, Matt Damon had gone from his relatable Will Hunting to the absolute opposite in Tom Ripley. Feats like this are rare even for some of the best actors. Even the greats like Nicholson, Duvall or Hackman would struggle to navigate their way between the character spectrum- they either stick with the 'madman' character, or the 'down-to-earth' good-guy. To have not even been recognised with an Oscar nomination for his work here, Matt Damon should feel absolutely robbed.
Throughout the 2hr19m runtime, I found myself so unbelievable fascinated by the portrayal of Ripley and the character himself, Minghella's movie almost took a backseat, thus making the film a victim of its own success. Had the other characters not felt like they were simply there to put an obsticle in Mr. Ripley's way then maybe they'd have posed a more interesting dynamic on-screen, and certainly would have kept the film rolling.
This is superb insight into the mind of a narcissist. If only the rest of the picture could keep up with Damon's intense, captivating and career-best performance. Worthy of a watch.
We begin the film knowing that Ripley is a smart man. He constantly decieves every person he comes across, applying his fake demeanor and faux grin, a feat which is first seen as he approaches the young Dickie Greenleaf and Dickie's girlfriend, Marge whilst on a beach in sunny Italy. Ripley reminds Dickie how they were both students at Princeton University in New Jersey, and although his memory isn't jogged, Greenleaf allows Ripley to tag along with him as he enjoys himself in Southern Europe.
My memory, however, was certainly jogged around 40 minutes into this movie as I realised the range and capability of the lead man here. In just two years, Matt Damon had gone from his relatable Will Hunting to the absolute opposite in Tom Ripley. Feats like this are rare even for some of the best actors. Even the greats like Nicholson, Duvall or Hackman would struggle to navigate their way between the character spectrum- they either stick with the 'madman' character, or the 'down-to-earth' good-guy. To have not even been recognised with an Oscar nomination for his work here, Matt Damon should feel absolutely robbed.
Throughout the 2hr19m runtime, I found myself so unbelievable fascinated by the portrayal of Ripley and the character himself, Minghella's movie almost took a backseat, thus making the film a victim of its own success. Had the other characters not felt like they were simply there to put an obsticle in Mr. Ripley's way then maybe they'd have posed a more interesting dynamic on-screen, and certainly would have kept the film rolling.
This is superb insight into the mind of a narcissist. If only the rest of the picture could keep up with Damon's intense, captivating and career-best performance. Worthy of a watch.
- FreddieLee04
- Jul 2, 2021
- Permalink
Patricia Highsmith's original novel is about a charming, amoral man who already has all the elements in place before he does his terrible deeds, and while Rene Clement's adaptation, PURPLE NOON(1960) doesn't show us Ripley before he came to Europe, Alain Delon certainly was all amoral charm. In his adaptation, Anthony Minghella takes on a different tack, showing us Tom Ripley before he became the Talented Mr. Ripley(just as last year's ELIZABETH showed Elizabeth before she became The Virgin Queen; by coincidence, both films star Cate Blanchett). When a filmmaker tries to add psychological depth to what is generally pulp entertainment, it doesn't always work, but Minghella has pulled it off, while keeping it entertaining.
There have been some people who think Matt Damon is too colorless here. In Clement's adaptation, that might have been true, but the point here is Ripley is SUPPOSED to be a nonentity, a blank page waiting to be filled(thus lines like "I always figured it would be better to be a fake somebody than a real nobody," or when Dickie Greenleaf(Jude Law) tells Ripley that with his glasses on, he looks like Clark Kent) by someone like Dickie. Ripley may have been pretending from day one(which is how he gets to meet Dickie in the first place), but there was nothing sinister about it, just a bunch of little white lies. It's not till he gets entranced by the life in Italy, and Dickie's life in particular, and then finds himself shut from it, that things happen. And Damon is excellent at going through the transformation(and it's not just the glasses, as one comment suggested, it's the hair, the clothes, and the whole attitude).
Anthony Lane of The New Yorker, probably my favorite critic today, liked the film, but he thought it would have been better if Damon and Law had switched roles. Again, if Minghella was remaking Clement's version, sure, but not this way. If you want someone to be an object of desire, you better make sure they're desirable, and Law is quite good there, along with showing the layers underneath. Gwyneth Paltrow has the tougher role, because she has to be both smart and able to be fooled, but she pulls it off, especially in the scene when she tells Tom she really knows what he is. Cate Blanchett and Philip Seymour Hoffman are also good in small roles, James Rebhorn is dependable, and Philip Baker Hall makes a memorable cameo.
One more thing; there have also been complaints that the first half is too long, and the ending is weak. The first half not only sets up Ripley's slowly falling in love with Dickie's life(and even Dickie), but also sets up some plot points which pay off later, so it's necessary. And when Ripley finally becomes The Talented Mr. Ripley, it's unsettling and still delivers a perverse kick. As for the ending, without giving anything away, it's the only way it could end; he goes on, but at what cost? This is terrific moviemaking.
There have been some people who think Matt Damon is too colorless here. In Clement's adaptation, that might have been true, but the point here is Ripley is SUPPOSED to be a nonentity, a blank page waiting to be filled(thus lines like "I always figured it would be better to be a fake somebody than a real nobody," or when Dickie Greenleaf(Jude Law) tells Ripley that with his glasses on, he looks like Clark Kent) by someone like Dickie. Ripley may have been pretending from day one(which is how he gets to meet Dickie in the first place), but there was nothing sinister about it, just a bunch of little white lies. It's not till he gets entranced by the life in Italy, and Dickie's life in particular, and then finds himself shut from it, that things happen. And Damon is excellent at going through the transformation(and it's not just the glasses, as one comment suggested, it's the hair, the clothes, and the whole attitude).
Anthony Lane of The New Yorker, probably my favorite critic today, liked the film, but he thought it would have been better if Damon and Law had switched roles. Again, if Minghella was remaking Clement's version, sure, but not this way. If you want someone to be an object of desire, you better make sure they're desirable, and Law is quite good there, along with showing the layers underneath. Gwyneth Paltrow has the tougher role, because she has to be both smart and able to be fooled, but she pulls it off, especially in the scene when she tells Tom she really knows what he is. Cate Blanchett and Philip Seymour Hoffman are also good in small roles, James Rebhorn is dependable, and Philip Baker Hall makes a memorable cameo.
One more thing; there have also been complaints that the first half is too long, and the ending is weak. The first half not only sets up Ripley's slowly falling in love with Dickie's life(and even Dickie), but also sets up some plot points which pay off later, so it's necessary. And when Ripley finally becomes The Talented Mr. Ripley, it's unsettling and still delivers a perverse kick. As for the ending, without giving anything away, it's the only way it could end; he goes on, but at what cost? This is terrific moviemaking.
I'll admit that I rented "The Talented Mr. Ripley" without the slightest clue about what the story entailed. However, this caused no problem as I soon became involved in the twisted and rather bizarre plot; I was immediately interested in the movie as it was unique and unusual right from the start.
Matt Damon portrays the mysterious Mr. Ripley, who, more or less, remains a mystery throughout the film. I was intrigued at how, when you first see him on screen, you are given the impression that he is nothing more than a shy, innocent, and intellectual young man who pretty much keeps to himself. However, this image is only visable for the first five minutes or so, and is virtually shattered once he accepts the offer to go to Italy in search of Mr. Greenleaf's son, Dickie. I was fascinated at how rapidly his personality altered, and suddenly I understood that he was rather odd, as he deceived Mr. Greenleaf in the first place by wearing a Princeton jacket and pretending that he knew Dickie. Now, I haven't explained this entirely, as those of you who have seen this film know, as I am not writing this to create a summary of the plot, but rather to give my comments. Basically, Mr. Greenleaf saw Ripley playing the piano at a wedding wearing a Princeton jacket, and since his son also went to Princeton, he asks Ripley if, by any chance, he knew Dickie. Of course, since Ripley never went to Princeton in the first place, he couldn't possibly have known Dickie. Despite this fact, however, Ripley says that he did know him, and that they were friends. As soon as he says this, he manages to get himself in a deep hole of trouble as Mr. Greenleaf asks him to go to Italy to try and retrieve his son, as he couldn't do it himself due to that fact that Dickie wouldn't listen to his father following a serries of arguments.
I thought that the acting was brilliant, especially that of Jude Law (Dickie) and Matt Damon. I was on the edge of my seat throughout most of the film, and I felt that all the characters were believable in their own ways. I believe this to be a splendidly clever story, which is well written and directed. I thought that the music playing during most of the film was excellent as it matched the strange, eerie atmosphere of the story beautifully.
I would like to conclude this review by saying that this is a very good movie with an unusually unpredictable ending; it's nice to see a movie that doesn't finish perfectly for a change.
Matt Damon portrays the mysterious Mr. Ripley, who, more or less, remains a mystery throughout the film. I was intrigued at how, when you first see him on screen, you are given the impression that he is nothing more than a shy, innocent, and intellectual young man who pretty much keeps to himself. However, this image is only visable for the first five minutes or so, and is virtually shattered once he accepts the offer to go to Italy in search of Mr. Greenleaf's son, Dickie. I was fascinated at how rapidly his personality altered, and suddenly I understood that he was rather odd, as he deceived Mr. Greenleaf in the first place by wearing a Princeton jacket and pretending that he knew Dickie. Now, I haven't explained this entirely, as those of you who have seen this film know, as I am not writing this to create a summary of the plot, but rather to give my comments. Basically, Mr. Greenleaf saw Ripley playing the piano at a wedding wearing a Princeton jacket, and since his son also went to Princeton, he asks Ripley if, by any chance, he knew Dickie. Of course, since Ripley never went to Princeton in the first place, he couldn't possibly have known Dickie. Despite this fact, however, Ripley says that he did know him, and that they were friends. As soon as he says this, he manages to get himself in a deep hole of trouble as Mr. Greenleaf asks him to go to Italy to try and retrieve his son, as he couldn't do it himself due to that fact that Dickie wouldn't listen to his father following a serries of arguments.
I thought that the acting was brilliant, especially that of Jude Law (Dickie) and Matt Damon. I was on the edge of my seat throughout most of the film, and I felt that all the characters were believable in their own ways. I believe this to be a splendidly clever story, which is well written and directed. I thought that the music playing during most of the film was excellent as it matched the strange, eerie atmosphere of the story beautifully.
I would like to conclude this review by saying that this is a very good movie with an unusually unpredictable ending; it's nice to see a movie that doesn't finish perfectly for a change.
The Talented Mr. Ripley tells the story of the often-charismatic Tom Ripley (Matt Damon), whose talents of impersonation, imitation and forgery combine with self-hatred, and tempt him with the possibility of adopting a different identity.
Set in New York in the 1950s, the story introduces "the talented Mr. Ripley" as a modest young man who was hired to play the piano at an exclusive party. A wealthy shipbuilder mistakes him for an old classmate of his son and Princeton graduate, Dickie Greenleaf (Jude Law). Worried and angered by his playboy son's lifestyle of wealth, freedom and diversion in the paradisiacal southern Italy, he urges Tom (and pays him) to travel to Italy and persuade Dickie to return home. Impressed by his own ability to fool the stranger, the talented Mr. Ripley travels to Italy and embarks on a risky journey of persuasion.
The beautiful landscapes (of Venice, Tuscany, the Gulf of Naples, and southern Sicily, among other locations); the friendly girlfriend, Marge Sherwood (Gwyneth Paltrow); and the enviable popularity of the handsome Dickie (as with his "bon vivant" friend Freddie, played by Philip Seymour Hoffman) overwhelm Tom and amuse the viewer. Motivated by a dangerously potent and well-repressed desire to possess the very lifestyle Dickie personifies (a desire which is subtly and shyly represented with scattered innuendoes of homosexuality), Tom realizes that being with Dickie is not as promising a reward as becoming Dickie. Parting from the overly simplistic premise and main character's motto, "it's better to be a fake somebody than a real nobody", The Talented Mr. Ripley focuses more on its main character's abilities than on his need for a different identity; a choice which does not allow for a fuller development of this potentially intriguing character.
Otherwise, the film successfully transmits the lifestyle Tom longs for, as a result of the better-defined character of Dickie, and of the desirability the actor Jude Law effectively projects.
Set in New York in the 1950s, the story introduces "the talented Mr. Ripley" as a modest young man who was hired to play the piano at an exclusive party. A wealthy shipbuilder mistakes him for an old classmate of his son and Princeton graduate, Dickie Greenleaf (Jude Law). Worried and angered by his playboy son's lifestyle of wealth, freedom and diversion in the paradisiacal southern Italy, he urges Tom (and pays him) to travel to Italy and persuade Dickie to return home. Impressed by his own ability to fool the stranger, the talented Mr. Ripley travels to Italy and embarks on a risky journey of persuasion.
The beautiful landscapes (of Venice, Tuscany, the Gulf of Naples, and southern Sicily, among other locations); the friendly girlfriend, Marge Sherwood (Gwyneth Paltrow); and the enviable popularity of the handsome Dickie (as with his "bon vivant" friend Freddie, played by Philip Seymour Hoffman) overwhelm Tom and amuse the viewer. Motivated by a dangerously potent and well-repressed desire to possess the very lifestyle Dickie personifies (a desire which is subtly and shyly represented with scattered innuendoes of homosexuality), Tom realizes that being with Dickie is not as promising a reward as becoming Dickie. Parting from the overly simplistic premise and main character's motto, "it's better to be a fake somebody than a real nobody", The Talented Mr. Ripley focuses more on its main character's abilities than on his need for a different identity; a choice which does not allow for a fuller development of this potentially intriguing character.
Otherwise, the film successfully transmits the lifestyle Tom longs for, as a result of the better-defined character of Dickie, and of the desirability the actor Jude Law effectively projects.
- chrisbrown6453
- Jul 11, 2001
- Permalink
- bootlebarth
- Sep 27, 2008
- Permalink
Yes The Talented Mr Ripley is slow at times, but to me it is always absorbing and very rarely boring. The scenery is simply dazzling and really quite exotic, and the costumes and cinematography are gorgeous too. The music is superb, as is Anthony Minghella's direction. The story is very compelling with a number of interesting and well-handled scenes, while the script is both intelligent and thoughtful. The acting is excellent, Matt Damon does wonderfully in a difficult and perhaps controversial role, and Jude Law, Gwyneth Paltrow, Cate Blanchett and Phillip Seymour Hoffmann are equally terrific. Overall, quite an excellent film. 8/10 Bethany Cox
- TheLittleSongbird
- Dec 8, 2010
- Permalink
A talented cast leads this twisted film about identity and becoming someone else. I enjoyed this movie quite a bit. It makes you think and lingers with you long after the credits roll. Anthony Minghella fills the screen with gorgeous European visuals that really add to the atmosphere. It is a tad long and takes a little bit to get going, but the Talented Mr. Ripley is another great film from 1999.
Having said that, I've read a lot of the other reviews, and many seem to feel the characterization of Ripley in the book is superior to the film version. It sounds like the novel's Ripley was a more proactive kind of a guy: rather than waiting for things to happen to him, he went out and MADE them happen. That approach would seem to make more sense in this kind of drama. The Ripley of the film was almost inert. The only real effort he put into the story line was to learn something about jazz. Opportunistic in only the most passive of ways, he allowed events to wash over him like ocean waves and then only sprang into action when it was absolutely necessary to direct the events himself. This type of character rarely reaches significant levels of success in his chosen field, whether it's brain surgery or identity theft.
I'll admit that I had my doubts about the plot from the start, right from the time Ripley "connected" with Greenleaf Senior over the Princeton jacket. I have a little experience with the "old boy" system and I find it almost impossible to believe that Ripley was able to convincingly present that he was ever at Princeton because I know the kinds of questions that always get asked when an alma mater is being discussed among fresh acquaintances.
I'm one who didn't mind the length of the film, at least; it seemed to want to have a lot to say and I was fine with how long it took to try and tell it. I don't have much of an opinion on Matt Damon one way or the other, but he was nothing special here. Jude Law and Philip Seymour Hoffman turned in the best performances by far. The location shooting was beautiful.
All in all, there was enough here to make me curious about reading the original novel someday, but the film itself is only average.
I'll admit that I had my doubts about the plot from the start, right from the time Ripley "connected" with Greenleaf Senior over the Princeton jacket. I have a little experience with the "old boy" system and I find it almost impossible to believe that Ripley was able to convincingly present that he was ever at Princeton because I know the kinds of questions that always get asked when an alma mater is being discussed among fresh acquaintances.
I'm one who didn't mind the length of the film, at least; it seemed to want to have a lot to say and I was fine with how long it took to try and tell it. I don't have much of an opinion on Matt Damon one way or the other, but he was nothing special here. Jude Law and Philip Seymour Hoffman turned in the best performances by far. The location shooting was beautiful.
All in all, there was enough here to make me curious about reading the original novel someday, but the film itself is only average.
A small-scale imposter / con man, making the rounds in 1950s New York, gets caught up in something much greater than his usual scam and decides to let it ride, if just to see where he winds up. In this case the answer is Italy, gorgeous vestige of the old world with just a few hints of the modern one, where he's tasked with convincing a flippant trust funder to return from a perpetual, fortune-draining holiday. That mission quickly goes by the wayside, just as soon as he realizes how much easier life is in the lap of luxury, and he merely exacerbates said money-letting as the wealthy playboy's new wingman. When things take a turn for the messy, though, his welcome worn thin and nothing to show for it but bittersweet memories, a panicked string of responses sends the entire comfortable lifestyle into a tailspin. At its root, Ripley is an example of how fear and rejection can press a normally smart, affable person over the brink into monstrosity, a surprise considering the playful tone of the first act. Matt Damon, still fresh from his breakout in 1997's Good Will Hunting, shows great versatility in the leading role (essential for such a complicated character), smoothly masking that twitch in his eye from all but the viewing audience. It's one of those films where you'll feel wrong about your rooting interest, knowing all along that the guy absolutely does not deserve a happy ending, with the final moments serving as your comeuppance.
- drqshadow-reviews
- Oct 9, 2017
- Permalink
Matt Damon turns in one of the most effective performances I've ever seen in recent memories. He trashes his golden boy image to play a psycho, so creepy it will make your skin crawl. Every person in Hollywood after seeing this film must be scared of him. Story involves Matt Damon staring as a poor working class who borrows a Yale or was it Harvard letter jacket to play the piano at a party for some rich snobs. After it is over he finds himself being asked to go to Italy to retrieve a millionaire's son (Jude Law). Upon arrival in Italy, Damon becomes so wrapped up in the rich life style, that he kills for it. Special attention must also be payed to Law for effectively stealing every single scene he is in, even though the cast includes two Oscar winners and one Oscar nominee. And then there is the beautiful cinematography, and the brilliant music score, and the terrific costumes and locations that makes us feel like we're back in Italy in the 50's. And then there is of course the brillant direction and script. What a terrific film. My favorite film of 1999 and one of my favorite films of all time. A perfect 10 for 10. Go see this film right away.
- bigpappa1--2
- May 12, 2000
- Permalink
This movie had great cinematography, superb acting and interesting ideas, but the pacing seemed off and it dragged quit a lot in places. I loved certain parts, but the over all structure of the movie felt weak. I know this is more of a character movie but the plot had almost no momentum at all which lead to a friend I was seeing the movie with to ask me "If I go to the bathroom do you think anything might actually happen...?" While every actor did fine job, Matt Damon was particular good, I had not thought him a very good actor before this picture and he rarely lives up to his talent afterwards. I think I may watch it again and would recommend someone else watching it as it is a challenging picture.
The Talented Mr. Ripley is a psychological thriller film written and directed by Late Anthony Minghella. The film is based on Late Patricia Highsmith's 1955 novel of the same name. The film stars Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett, Jack Davenport, Late James Rebhorn and Late Philip Seymour Hoffman.
The strongest part of the film is probably it's strong casting with almost all the characters were aptly perfect for their roles and did a terrific work.
The screenplay of the film is slow but still will not deviate the attention of the viewers. The atmosphere of the Italy in the 50s is mesmerizing. The twists and turns at regular intervals of the film will keep the guessing game on and the film ends with a good climax.
The strongest part of the film is probably it's strong casting with almost all the characters were aptly perfect for their roles and did a terrific work.
The screenplay of the film is slow but still will not deviate the attention of the viewers. The atmosphere of the Italy in the 50s is mesmerizing. The twists and turns at regular intervals of the film will keep the guessing game on and the film ends with a good climax.
- sauravjoshi85
- Jan 12, 2022
- Permalink
Despite many flashes of visual style, this film misses opportunity after opportunity to be a truly Hitchcockian study of sociopathology. The scene in the lobby of the opera house, for example, directed by Hitchcock, would have been a genuine gasper. Other, more obvious gaffes: the film begins with narration, which never recurs (Where is Ripley when he is telling us this story? Why is he telling it? Why have only one line of this narration?); the skyline in the background of the opening scene is modern day. The film comes vividly to life in scenes where Ripley's buried emotions come to the fore -- in the boat, for example, or in the final scene -- but ultimately Matt Damon is not a strong enough actor to bring this fascinating character to life. Both he and Gwyneth Paltrow, in fact, seem startlingly amateurish alonside Jude Law, Cate Blanchet, and Phillip Seymour Hoffman, who are all superbly confident. The tendency of visual and sound effects to dominate modern movies here invades what could have been a wonderfully complex character study; instead it seems to be a film about photography and jazz.
I'd have to say The_Void really sums up on how amazing this film is and because I find his library of reviews so helpful, I will link them now: http://www.imdb.com/user/ur2248099/comments?order=date&start=0 His review should definitely take precedence over all other Reviews for this film (and probably a lot more). I write this review for the chance that if someone liked one of my opinions, they'd come and see what I thought of this masterpiece.
I can't remember that last time I felt my heart jerked like this in some time. Well that is a lie, I do remember. The last time would have had to of been when I saw: Match Point. So let's get the 'if you liked/hated' bust out of the way and say if you liked Woody Allen's Match Point, I can't see why you wouldn't ultimately like this. Not that they're AT ALL the same, nor do I have some sort of expertise on the matter. I just know the rare feeling Match Point gave me is the same this movie gave me. It sets so many moods and it does it with such finesse you find yourself begging for more and more in a devilish fashion you'll catch yourself many times wondering why you're rooting for Mr. Ripley.
The movie is only 2 hours and 20 minutes or there abouts. But it feels like a lifetime. Not the sort of lifetime when you're waiting in the DMV. The sort of life time where you experience, learn, and think about through your life. Not to say this film is a learning experience. But it IS an experience and it will fill a hole in your film-going life for that thick-plot, character ran, and dark trenching void you may have. I can't think of a film that quite compares in sequence of events, twists, character development, character inclusion quite like this.
Every character is important, every event is important, and everything you think is pretty null and void. Or possibly that is just me.
It should be heavily noted that this film STARTS SLOW, as many have said and probably judged it that way. I'd say it picks up speed around the 15-20 minute mark and it roller coasters from there. And let me tell you, when it accelerates, it seriously doesn't know how to stop and personally, I never wanted it to stop. This is the sort of film where not even the most annoying person can scream at the film, because you're too tight lipped about everything going on and you'll most likely find yourself wanting Ripley to keep going. And when I say Ripley, I really mean the movie.
And the movie doesn't stop, it keeps going. Even after it's over, you will be doing a mental tango of all the information you have received and trying to sort out all the pieces. And trust me, there are pieces. If you go to watch this film to just watch a 90's flick, you're doing it wrong. You will probably find the movie a flop of just dark moments led by lies and deceit. (Which it really is). But to those who went to watch this film because we wanted to know why there was so much mixed hype about this 1999 film, we should have all noticed there were the smallest bits of puzzle pieces and the biggest amounts of twists that really made this film what it is.
I don't even like Matt Damon, I personally have a biased grudged towards the guy and his movies. But I'd have to say, it's tough to choose between his performances here and Good Will Hunting. He, along with the entire cast will tug at heart strings you never thought you had. There are the strings for romance, thrillers, and horror. These strings are the one's collecting dust and sometimes never see the light of day for a life time. It's rare to come across a film that seems to have everything and goes about it like it's nothing, like it doesn't even seem to care if you're watching or not, because it all is going to happen with or without you. It's truly it's own living, breathing, and dark entity.
Watch this film if you want a film that will bake in your brain for the days, weeks, maybe months to come. It's not to late to bring this movie back up into lunch-time conversation in the new century.
I can't remember that last time I felt my heart jerked like this in some time. Well that is a lie, I do remember. The last time would have had to of been when I saw: Match Point. So let's get the 'if you liked/hated' bust out of the way and say if you liked Woody Allen's Match Point, I can't see why you wouldn't ultimately like this. Not that they're AT ALL the same, nor do I have some sort of expertise on the matter. I just know the rare feeling Match Point gave me is the same this movie gave me. It sets so many moods and it does it with such finesse you find yourself begging for more and more in a devilish fashion you'll catch yourself many times wondering why you're rooting for Mr. Ripley.
The movie is only 2 hours and 20 minutes or there abouts. But it feels like a lifetime. Not the sort of lifetime when you're waiting in the DMV. The sort of life time where you experience, learn, and think about through your life. Not to say this film is a learning experience. But it IS an experience and it will fill a hole in your film-going life for that thick-plot, character ran, and dark trenching void you may have. I can't think of a film that quite compares in sequence of events, twists, character development, character inclusion quite like this.
Every character is important, every event is important, and everything you think is pretty null and void. Or possibly that is just me.
It should be heavily noted that this film STARTS SLOW, as many have said and probably judged it that way. I'd say it picks up speed around the 15-20 minute mark and it roller coasters from there. And let me tell you, when it accelerates, it seriously doesn't know how to stop and personally, I never wanted it to stop. This is the sort of film where not even the most annoying person can scream at the film, because you're too tight lipped about everything going on and you'll most likely find yourself wanting Ripley to keep going. And when I say Ripley, I really mean the movie.
And the movie doesn't stop, it keeps going. Even after it's over, you will be doing a mental tango of all the information you have received and trying to sort out all the pieces. And trust me, there are pieces. If you go to watch this film to just watch a 90's flick, you're doing it wrong. You will probably find the movie a flop of just dark moments led by lies and deceit. (Which it really is). But to those who went to watch this film because we wanted to know why there was so much mixed hype about this 1999 film, we should have all noticed there were the smallest bits of puzzle pieces and the biggest amounts of twists that really made this film what it is.
I don't even like Matt Damon, I personally have a biased grudged towards the guy and his movies. But I'd have to say, it's tough to choose between his performances here and Good Will Hunting. He, along with the entire cast will tug at heart strings you never thought you had. There are the strings for romance, thrillers, and horror. These strings are the one's collecting dust and sometimes never see the light of day for a life time. It's rare to come across a film that seems to have everything and goes about it like it's nothing, like it doesn't even seem to care if you're watching or not, because it all is going to happen with or without you. It's truly it's own living, breathing, and dark entity.
Watch this film if you want a film that will bake in your brain for the days, weeks, maybe months to come. It's not to late to bring this movie back up into lunch-time conversation in the new century.
Anthony Minghella's second film has much in common with his first, "The English Patient" - an all star cast, luscious production, an Italian setting, a story full of subtleties and a distancing feel that leaves the audience curiously disengaged. Most of the cast (Jude Law and Gwynneth Paltrow especially) are excellent but Matt Damon struggles in the title role, failing to find the heart of the elusive Mr. Ripley. Ripley is both deceiver and self-deceiver, orchestrator of crimes and victim of circumstance, but Damon gives far too little away to help us understand what's really in his mind. The film also mirrors "The English Patient" for its failure to communicate a sense of purpose: for all the interesting sub-themes, there's little sense of what this movie is supposed to be about, and little new is added to the mix at it drifts towards its conclusions. Though not a truly bad film, "The Talented Mr. Ripley" has a hole in its heart.
- paul2001sw-1
- Sep 9, 2003
- Permalink
- view_and_review
- Dec 19, 2020
- Permalink