As a huge fan of Rene Clement's "Purple Noon" I came to Minghella's version of Patricia Highsmith's story with suspicion and an irrational predisposition to dismiss it. Well, I was wrong. The talented Mr. Minghella perpetrated a magic trick. The film stands on its own as an entertaining, creepy, thoughtful, beautiful to look at piece of film-making. Jude Law throw us for six, we're not suppose to feel attracted to the selfish Dickie Greenleaf, but we do. His scrumptious performance is alluring, seductive. He is a scene stealer of major proportions. In the original, Maurice Ronnet's oily Dickie Greenleaf was a perfect lamb to the slaughter. We don't mourn his death and want the murderous Ripley, as played by Alain Delon, to get away with it. Here, when Jude Law is on the screen that's what we're looking at. We're prepared to forgive him anything and everything. I did believed in Gwyneth Paltrow's qualm, totally. In the original, Marie Laforet played it as a tenuous, unclear little excuse. Gwyneth Paltrow gives us a multi dimensional character and we go through her torment every step of the way. That, presumably, is merit in great part of Minghella's superb screenplay. Other joys are Cate Blanchett and Philip Seymour Hoffman. On the minus side Matt Damon couldn't make me forget Alain Delon. His Ripley is a better written character than Delon's and his performance is top notch, but Delon was breathtaking on the screen. I think than Anthony Minghella was more interested in the inner workings of Ripley's mind that in the pyrotechnics of a implausible plot. Good. The semi confession of Matt Damon about a basement full of secret truths tells us about his pain about his fear. Delon's Ripley is amoral to the hilt. The murder of Dickie in the original is terrifying. It takes forever. As well as the getting rid of Freddy's body. Minghella never show us how Ripley managed to bring a dead body down the stairs. Clement spends a great deal of time with it. Making it enormously suspenseful. But, as I mentioned before we did care about Delon and, maybe, Minghella new that whether Damon got caught or not wasn't that important. All in all I liked the film very much and the biggest lesson from a film fanatic's point of view is: you don't kill your Jude Law half way through a film unless you leave us in the hands of someone who will make us forget him. Janet Leigh and Anthony Perkins, remember that?
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spookyrat111 May 2019With The Talented Mr Ripley, Anthony Minghella gives us a superb adaption of Patricia Highsmith's novel of the same name. It tells the story of a young con artist, who almost accidentally appears to evolve into the role of a serial killer whilst in pursuit of a hedonistic lifestyle, who, with a combination of intelligence, cunning and a unique skill set, always seems able to evade justice.
Minghella is extremely clever in the manner in which he constructs his narrative. The first hour of the film almost plays out like some boys own gap year romantic adventure set on the sun-dappled shores of the late 1950's Italian coastline. Matt Damon is the ideal young protagonist, with Minghella highlighting what is almost (but not quite) the innocent boyishness of his title character, as he takes his first uncertain, but enthusiastic steps, in pursuit of La Dolce Vitta.
The movie is a triumph of casting. Besides Damon, Jude Law features in a star-making turn as Dickie Greenleaf, a character he succeeds in both making alluring and somewhat repellent, thus ultimately becoming the ideal lamb to be led to perhaps what is an unplanned slaughter. Gwyneth Paltrow has both the looks and talent to give us a multi-dimensional Marge, who we see convincingly becoming more confused and confounded by her "Dickie's" apparent behaviour, as the story continues to unfold. Phillip Seymour Hoffman in a smaller, but crucial supporting role, is perfect as the very much self-absorbed Freddie Miles, an old compatriot of Dickie's and a rival for Ripley, of Dickie's attention.
The thriller elements of the story are ratcheted up in the movie's second half as Ripley's darker motivations become more predominant and his actions become more challenged by the intercessions of characters such as the aforementioned Freddie, attractive socialite Meredith (Cate Blanchette), Marge's lawyer friend Peter Smith-Kingsley (Jack Davenport), the Italian police and an American private detective. The twists and turns resulting from Ripley's increasingly devious actions are both enormously suspenseful, but pleasingly realistic, given the skills we see him develop as well as the connections we see him establish.
Anthony Minghella's adaption of Highsmith's book is, in my opinion, an example of an extremely sophisticated, cinematic enhancement of the original literary work. Tom Ripley is introduced as a fascinating anti-hero. It just seems somewhat odd in this era of franchise brands, that unlike a similar character such as Hannibal Lector, no other well-known directors have gone on to successfully continue his complex, yet beguiling story. -
petra_ste29 October 2018There are thrillers I enjoy but rarely feel any desire to watch again; however, I find that those lighter on set-pieces but heavier on character interactions and atmosphere have a better replay value for me.
The Talented Mr. Ripley is a perfect example. The movie takes its time in the first act, allowing us to identify with ambitious liar Tom Ripley (Matt Damon in one of his best performances) who yearns for a better life and manages to ingratiate himself with wealthy heir Dickie Greenleaf (an electric Jude Law).
Dickie is enjoying an endless vacation in Italy; Tom starts to tag along. At first the narcissistic Dickie likes the company of this nice young man who obviously idolizes him; however, Tom develops an obsession with Dickie, who decides he is fed up with him...
The movie lets us share Ripley's point of view, entangles us in his web of lies. The bond we develop with him is crucial or the rest of the film, where his deceptions take a darker turn, simply wouldn't work.
Damon and Law are great, well supported by Gwyneth Paltrow, Cate Blanchett, Philip Seymour Hoffman and Jack Davenport. Minghella's direction is elegant, meticulous, crafting moments of great tension.
One of my favorite scenes is the first killing. I don't know whether it comes straight from the novel or was changed for the adaptation, but it's masterful, making use of a clever writing trick: setting a scene where you'd least expect it to take place. We are used to movie murders happening in dark, ominous locations, but this one unfolds in broad daylight on a boat rocking in the middle of a beautiful blue sea: when violence erupts, it's all the more shocking.
As a police investigation starts, Tom relies on his talent for lying and impersonating people, but there is a stark difference from the usual trope of the innocent man dragged into a crime against his will and who is just trying to survive. Tom clearly relishes the wealth and opportunities brought by his deception: he likes this game and is very good at it.
The bookend to the first murder is the ending (MAJOR SPOILERS), with the last killing in a ship's cabin. Once again Tom kills someone he loves, only this time, with cruel irony, the victim actually loves him back and the killing isn't a spur-of-the-moment reaction but deliberate, as Tom finds no other way to cover up his crimes. The Pyrrhic victory of the villanous protagonist, who has managed to fool everyone but is now broken and alone, is one of the most memorable movie endings of recent cinema.
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littlemartinarocena10 October 2007Patricia 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.
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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. -
agrawalmannu3 October 2005I 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. -
robhingston21 September 2019One 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,
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FlickJunkie-229 June 2000If 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. -
jdustein27 January 2014The Talented Mr. Ripley is ominous and foreboding, suspenseful and exciting, slow and emotional. The movie has as many facets as Mr. Ripley has talents, and it takes the viewer through an interesting and worthwhile experience.
The movie is set in the late 1950s and begins just as Tom Ripley--if that is his real name--begins his grand act of deception. The movie is based on a series of novels written by Patricia Highsmith that are centered on Mr. Ripley.
Tom Ripley, who is played by Matt Damon, deceives a man into believing that he knows his son well. That man decides to send Tom to Italy to retrieve his son, Dickie Greenleaf. Dickie, who is played by Jude Law, is privileged and arrogant, but he is also adored by those who know him. His father believes he has been sailing and schmoozing in Italy for far too long. Dickie's father promises to pay Tom's travel expenses and award him $1,000 to return with Dickie. Tom readily accepts the offer.
The first scene that intrigued me was when Tom lands in Italy. He meets a pretty American girl named Meredith, played by Cate Blanchett, and he introduces himself as Dickie Greenleaf. I almost did not catch the lie at first, and I nearly forgot about it when Tom says goodbye to Meredith, returns to being Tom Ripley, and goes to meet up with Dickie. Tom pretends to meet Dickie by chance and tells him they knew each other in college. Dickie is with his girlfriend Marge, played by Gwyneth Paltrow, and, of course, he does not recognize Tom.
Tom builds his talents for deception while making his way into Dickie's life, but he uses the truth of his mission to gain Dickie's trust. They quickly become friends. Everything seems to be going well for Tom, and it is at this point that I began to empathize with him because of his eagerness to participate socially and his obvious fear of loneliness.
As he and Dickie become closer, Tom's attraction for Dickie becomes palpable. At the same time, Dickie takes note of Tom's infatuation and tries to brush him away by spending time with other friends. In a scene that left me shocked and confused, Tom's jealousy and passion overwhelm him while he and Dickie are sailing. They are arguing because Dickie tries to tell Tom he doesn't think that they should be friends anymore, and that Tom should return to America. Tom strikes Dickie with an oar and, after a scuffle, Tom beats Dickie to death. Tom cries as he hugs the bloodied corpse, once again leaving me unsure of Tom's plan--if he even has a plan.
Tom's journey truly begins as he starts to cover his tracks and decides that his only option is to attempt to steal Dickie's life. Tom tells Marge that Dickie is just taking time away. He tells those who know him as Tom that Dickie is away, and he tells others that he is Dickie. He cashes Dickies checks and lives in his home.
The other characters become pieces in Tom's game and he manipulates them to support his web of lies. Tom murders again when Dickie's friend, who has met Tom as Tom, is on the verge of discovering Tom's ruse. Once again, the murder does not seem predetermined, and Tom does it out of necessity because he cannot stand to lose his new lifestyle. Tom's lies and murders begin to spiral out of control as the police become involved. I found myself wondering if Tom would have to kill everyone in Italy that knew Dickie. I also began to empathize with Tom's delusional scheme because he seems to only want attention and affection from others.
Dickie's friends become increasingly worried about his absence, and Dickie's father travels to Italy and hires a private investigator. Just as Tom's evil plan is about to break apart, Tom gets away clean. Tom forges a suicide letter from Dickie, and the police and private investigator come to conclusions that leave Tom innocent.
Marge is the only person who suspects Tom, but she has become emotionally distressed and no one believes her. Dickie's father even leaves Tom some of Dickie's trust fund. Tom murders one last time as the movie ends. A man who had become his lover poses one last threat to his discovery because he still knows him as Tom, and others that know him as Dickie are aboard the same ship. Tom smothers him while crying to himself.
I found this movie to be thrilling, and honestly, confusing. I could watch it again and again and probably absorb some new, interesting aspect each time. Matt Damon gives a great performance that shows range that I have not seen in his later performances. I wish that I had seen this fantastic work of art earlier, and I am eager to read the books it is based on. -
sknerger21 August 2001I'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. -
irishm6 September 2016Having 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. -
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. -
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. -
view_and_review20 December 2020I wasn't feeling this movie; not for a lack of abilities on the part of Matt Damon or even Jude Law (Gwyneth Paltrow looked like a ham every emotional scene). The movie was too long and it took 45 minutes for anything of significant interest to happen.
Tom Ripley (Matt Damon) was sent to Italy to bring back Dickie Greenleaf (Jude Law) at the request of Dickie's father. Tom had just stepped foot in Italy and he was already lying about who he was to Meredith Logue (Cate Blanchett), but after that seemingly innocuous scene Tom settled into a lively and drama free life with Dickie. That was until Dickie told Tom that play time was over. That's when Tom killed Dickie. Even after this the movie only gained moderate traction. Obviously, we have to keep watching to find out what happens to Tom, but did we really care? If he was caught, if he got away, what did it matter? Not enough. -
sauravjoshi8513 January 2022The 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. -
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
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chrisbrown645312 July 2001The 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. -
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. -
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.
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mydelsol78 December 2005This 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.
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cardsrock24 April 2020A 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.
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Libretio23 December 2004THE TALENTED MR. RIPLEY
Aspect ratio: 1.85:1
Sound formats: Dolby Digital / DTS
Whilst in Italy, a young American chancer (Matt Damon) assumes the identity of a wealthy playboy (Jude Law) with whom he's become emotionally obsessed, leading to murder and betrayal on a grand scale.
Elegant, literary thriller based on the novel by Patricia Highsmith (the subject of an earlier adaptation, PLEIN SOLEIL, in 1960), in which sociopathic anti-hero Tom Ripley (Damon) cheats, steals and murders his way to a position of huge good fortune, leaving a trail of devastation in his wake. Set against the backdrop of tourist Italy - encompassing Rome and Venice and all points in between - Anthony Minghella's film is a compelling treat from start to finish, layering detail upon detail as Damon's friendship with Law blossoms and sours, leading to an inevitable plot twist which introduces a whole new set of complications for the central characters, rendering the audience complicit in Ripley's escalating crime wave.
Damon may seem a little too young and unworldly for such a complex character, but he judges the role with great sensitivity, especially in those scenes where (overtly or otherwise) he indicates a sexual attraction to Law which goes unreciprocated (or does it?), until the characters are driven apart by jealousy, bitterness and - ultimately - violence. His fantasies shattered by harsh reality, Damon finds solace in the arms of a mutual acquaintance (Jack Davenport), the only person capable of taking Law's place in Damon's affections, only for their chance of happiness to be snatched away by a cruel trick of fate. Terrific, Oscar-caliber support by Gwyneth Paltrow and Philip Seymour Hoffman (as Law's fiancée and best friend, respectively); beautiful, classy production values throughout. Followed by RIPLEY'S GAME (2002). -
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.
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alansabljakovic-3904410 March 2019Very creepy movie and very strange style of filmmaking. Performances are on top level with a lot of A listers coming together to give us this great 90's film. This film is as gay as Call Me by Your Name but without any gay scenes in it, not even a kiss. One of the Damon's best performances.
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bootlebarth28 September 2008'The Talented Mr Ripley' is a very silly film. It is a perfect example of how style can triumph over substance. From start to finish the plot is 100% nonsense. A geekish lavatory attendant (Tom Ripley/Matt Damon) stands in as an accompanist wearing a borrowed Princeton blazer. This is enough for a shipping magnate in the audience to finance him to go to Italy and bring back his playboy son (Dickie Greenleaf/Jude Law).
Ripley falls in love with Dickie's life and with Dickie himself. For a while he manages to attach himself, leechlike, to the black sheep. His first advances, hinting at a game of nude bathtub chess, are rebuffed. An improbable turning point occurs when the hithertho nerdish Tom slices open the side of Dickie's head with an oar during an unlikely boat trip for two and then beats him to a lifeless pulp in the biffo that follows.
From this point, Ripley leads a double life, as himself and his victim. When rumbled by one of Dickie's old chums (Freddie/Philip Seymour Hoffman) he turns to murder again. The net seems to be closing in but Ripley keeps wriggling free.
Writer/Director Antony Minghella uses the oldest trick in the book to distract viewers from the hollowness of the plot. Just as a skillful conjuror diverts the gaze of the audience from where the trick is really happening, so Minghella disengages our critical faculties with picturesque backdrops of Rome, Venice and even Jude Law's posterior.
The cast do well enough, apart from Matt Damon who wouldn't have got a look in at a 'Queer as Folk' audition. None of the characters they play invite empathy, so the viewer scarcely cares who might live or die, and whether Ripley will get away with his literally incredible double life.
Surely the hard-boiled American private detective hired by Greenleaf Senior will unravel the tissue of lies and coincidences? Nope. Fade to unreadable titles and who cares? The stars of this film are the locations and the art direction. Without them it would be the disaster the absurd and wholly unbelievable plot deserves.