The Talented Mr. Ripley (film)
|The Talented Mr. Ripley|
Theatrical release poster
|Directed by||Anthony Minghella|
|Produced by||William Horberg
|Screenplay by||Anthony Minghella|
|Based on||The Talented Mr. Ripley
by Patricia Highsmith
|Music by||Gabriel Yared|
|Edited by||Walter Murch|
|Distributed by||Paramount Pictures (US)
Miramax Films (Worldwide)
The Talented Mr. Ripley is a 1999 American psychological thriller written for the screen and directed by Anthony Minghella. An adaptation of the 1955 Patricia Highsmith novel of the same name, the film stars Matt Damon as Tom Ripley, Jude Law as Dickie Greenleaf, Gwyneth Paltrow as Marge Sherwood and Cate Blanchett as Meredith Logue.
The novel was previously filmed as Plein Soleil in 1960.
Tom Ripley is a young man struggling to make a living in 1950s New York City using his "talents"—forgery, lying and impersonation. While playing piano at a cocktail party in New York City, he is approached by wealthy shipbuilder Herbert Greenleaf, who mistakenly believes that Ripley went to Princeton with his son, Dickie, because Ripley is wearing a borrowed Princeton blazer. Greenleaf recruits Ripley to travel to Italy and persuade Dickie to return to the United States, for which he will pay Ripley $1,000 (the equivalent of between $9,000 and $10,000 today). Ripley accepts the proposal, even though he did not attend Princeton and has never even met Dickie.
After arriving on a ship traveling across the Atlantic to Europe, Ripley meets a young and wealthy textile heiress named Meredith Logue. During their brief conversation he impulsively pretends to be Dickie, later commenting in voice-over that "it is better to be a fake somebody than a real nobody." Shortly after his arrival in Italy, Ripley fakes a chance encounter on the beach with Dickie and his fiancée, Marge Sherwood and attempts to convince Dickie that the two met at Princeton. Ripley later visits Dickie and Marge and discloses that Dickie's father paid Ripley to travel to Europe and persuade Dickie to return home. This revelation infuriates Dickie; he declines the invitation and suggests Ripley go back to America and inform his father that he has no intention of ever returning. However, Ripley instead insinuates himself into Dickie's life under the pretext of being a fellow jazz lover. The two concoct a scheme for Ripley to wring additional funds from Herbert Greenleaf by regularly mailing letters suggesting Dickie is wavering and will likely return to America if Ripley can remain in Italy and continue applying pressure.
On a jaunt to Rome, Ripley meets Dickie's friend Freddie Miles, who treats Ripley with barely concealed contempt. A local girl, whom Dickie had made pregnant, drowns herself after he refuses to help her financially; this sends Dickie into a downward spiral. Dickie begins tiring of Ripley, resenting his constant presence and suffocating dependence. Ripley's own feelings are complicated by his desire to maintain the opulent lifestyle Dickie has afforded him, and his growing sexual obsession with his new friend. As a good-will gesture, Dickie invites Ripley to sail with him for a last trip to San Remo, where Dickie is shopping for a new residence, before Ripley leaves for America. While at sea, Ripley suggests he return to Italy the following year and the two become house-mates. Dickie dismisses Ripley's plan, informs him that he intends to marry Marge and admits he has grown weary of Tom. Upset by this news, Ripley confronts Dickie about his behavior; the fight escalates and, in a rage, Ripley repeatedly hits Dickie with an oar and kills him. To conceal the murder, Ripley scuttles the boat with Dickie's body aboard before swimming ashore.
When the hotel concierge mistakes him for Dickie, Ripley realizes he can assume Dickie's identity. He forges Dickie's signature, modifies his passport and begins living off Dickie's trust-fund. He uses Dickie's typewriter to communicate with Marge, making her believe that Dickie has decided to stay in Rome and left her. He checks into two separate hotels as himself and as Dickie, passing messages via the hotel staff to create the illusion that Dickie is still alive. His situation is complicated by the reappearance of Meredith, who still believes that he is Dickie.
Ripley rents a large apartment and spends a lonely Christmas buying himself expensive presents. Freddie tracks Ripley to his apartment in Rome through the American Express office, expecting to find Dickie. Freddie is immediately suspicious of Ripley as the apartment is not furnished in Dickie's style, while Ripley appears to have adopted Dickie's hair-style and mannerisms. On his way out, Freddie encounters the building's landlady who refers to Ripley as "Signor Dickie" and remarks on the piano music constantly emanating from the apartment. Freddie notes that Dickie does not play piano and goes back to confront Ripley, however Ripley ambushes and murders him. He then carries the body to Freddie's car, drives to the woods, abandons the vehicle and leaves Freddie's corpse lying on the ground where it is quickly discovered.
As a result, Ripley's existence becomes a cat-and-mouse game with the Italian police and Dickie's friends. Ripley eludes imminent capture and clears himself by forging a suicide note addressed to Ripley in Dickie's name. He then moves to Venice and rents an apartment under his real name. Though trusted by Dickie's father, Ripley is disquieted when Mr. Greenleaf hires American private detective, Alvin MacCarron, to thoroughly investigate Dickie's disappearance. Marge suspects Ripley's involvement in Dickie's death and confronts him after finding Dickie's rings in Ripley's bathroom. Ripley appears poised to murder her but is interrupted when Peter Smith-Kingsley, a mutual friend, enters the apartment with a key Ripley had given him.
MacCarron, after uncovering certain sordid details about Dickie's past, reveals to Ripley that Mr. Greenleaf has requested the investigation be dropped. MacCarron will not share his revelations with the Italian police and asks Ripley to promise to do the same. In exchange for his candor, and implications made in Dickie's suicide note, Herbert Greenleaf intends to transfer a substantial portion of Dickie's trust-fund income to Ripley. Marge is dismayed at the resolution, furiously accusing Ripley of involvement in Dickie's disappearance before Greenleaf and MacCarron drag her away.
Now lovers, Ripley and Peter go on a cruise together, only to discover that Meredith is also on board. Ripley realizes that he cannot prevent Peter from communicating with Meredith and discovering that he has been passing himself off as Dickie. Peter and Meredith know each other and would certainly meet at some point on the voyage. He cannot solve this dilemma by murdering Meredith, because she is accompanied by her family. Ripley enters Peter's room and suggests the two remain below-deck for the duration of the cruise, but quickly dismisses this idea as he cannot offer Peter a legitimate reason for doing so. Ripley sobs as he strangles Peter in his bed then returns to his own cabin, where he sits alone.
- Matt Damon as Tom Ripley
- Gwyneth Paltrow as Marge Sherwood
- Jude Law as Dickie Greenleaf
- Cate Blanchett as Meredith Logue
- Philip Seymour Hoffman as Freddie Miles
- Jack Davenport as Peter Smith-Kingsley
- James Rebhorn as Herbert Greenleaf
- Sergio Rubini as Inspector Roverini
- Philip Baker Hall as Alvin MacCarron
- Celia Weston as Aunt Joan
- Ivano Marescotti as Col. Verrechia of the carabinieri
Roger Ebert gave the film four-out-of-four stars, calling it "an intelligent thriller" that is "insidious in the way it leads us to identify with Tom Ripley ... He's a monster, but we want him to get away with it". In her review for The New York Times, Janet Maslin praised Law's performance: "This is a star-making role for the preternaturally talented English actor Jude Law. Beyond being devastatingly good-looking, Mr. Law gives Dickie the manic, teasing powers of manipulation that make him ardently courted by every man or woman he knows". Entertainment Weekly gave the film an "A-" rating, and Lisa Schwarzbaum wrote: "Damon is at once an obvious choice for the part and a hard sell to audiences soothed by his amiable boyishness ... the facade works surprisingly well when Damon holds that gleaming smile just a few seconds too long, his Eagle Scout eyes fixed just a blink more than the calm gaze of any non-murdering young man. And in that opacity we see horror".
Charlotte O'Sullivan of Sight and Sound wrote, "A tense, troubling thriller, marred only by problems of pacing (the middle section drags) and some implausible characterisation (Meredith's obsession with Ripley never convinces), it's full of vivid, miserable life". Time named it one of the ten best films of the year and called it a "devious twist on the Patricia Highsmith crime novel". James Berardinelli gave the film two and a half stars out of four, calling it "a solid adaptation" that "will hold a viewer's attention", but criticized "Damon's weak performance" and "a running time that's about 15 minutes too long." Berardinelli compared the film unfavorably with the previous adaptation, Purple Noon, which he gave four stars. He wrote, "The remake went back to the source material, Patricia Highsmith's The Talented Mr. Ripley. The result, while arguably truer to the events of Highsmith's book, is vastly inferior. To say it suffers by comparison to Purple Noon is an understatement. Almost every aspect of René Clément's 1960 motion picture is superior to that of Minghella's 1999 version, from the cinematography to the acting to the screenplay. Matt Damon might make a credible Tom Ripley, but only for those who never experienced Alain Delon's portrayal."
In his review for The New York Observer, Andrew Sarris wrote, "On balance, The Talented Mr. Ripley is worth seeing more for its undeniably delightful journey than its final destination. Perhaps wall-to-wall amorality and triumphant evil leave too sour an aftertaste even for the most sophisticated anti-Hollywood palate". In his review for The Guardian, Peter Bradshaw wrote, "The Talented Mr. Ripley begins as an ingenious exposition of the great truth about charming people having something to hide: namely, their utter reliance on others. It ends up as a dismayingly unthrilling thriller and bafflingly unconvincing character study". In her review for the Village Voice, Amy Taubin criticized Minghella as a "would-be art film director who never takes his eye off the box office, doesn't allow himself to become embroiled in such complexity. He turns The Talented Mr. Ripley into a splashy tourist trap of a movie. The effect is rather like reading The National Enquirer in a café overlooking the Adriatic". Damon was apparently unhappy with the film's departures from Highsmith's novel, telling an interviewer shortly after the film was released, "I'd like to make the whole film all over again with the same cast and same title but make it completely like the book."
- The Talented Mr. Ripley (1999). Box Office Mojo. IMDb. Retrieved 2012-02-23.
- "The Talented Mr. Ripley". Rotten Tomatoes. Flixter. Retrieved 2011-10-14.
- Ebert, Roger (1999-12-24). "The Talented Mr. Ripley". Chicago Sun-Times. Retrieved 2009-07-06.
- Maslin, Janet (1999-12-24). "Stealing a New Life, Carnal, Glamorous And Worth the Price". The New York Times. Retrieved 2009-07-06.
- Schwarzbaum, Lisa (2000-01-07). "The Talented Mr. Ripley". Entertainment Weekly. Retrieved 2009-07-06.
- O'Sullivan, Charlotte (March 2000). "The Talented Mr. Ripley". Sight and Sound. Retrieved 2009-07-06.
- "The Best Cinema of 1999". Time. March 2000. Retrieved 2009-07-06.
- "The Talented Mr. Ripley - A Film Review by James Berardinelli". ReelViews.net. Retrieved 2011-10-14.
- "Purple Noon (Plein Soleil) - A Film Review by James Berardinelli". ReelViews.net. Retrieved 2011-10-14.
- "James Berardinelli Top 100: #86: Purple Noon". ReelViews.net. Retrieved 2011-10-14.
- Sarris, Andrew (1999-12-26). "The Year at the Movies: Overlong, Overambitious". The New York Observer. Retrieved 2009-07-06.
- Bradshaw, Peter (2000-02-25). "The Talented Mr. Ripley". The Guardian. Retrieved 2009-07-06.
- Taubin, Amy (1999-12-21). "From Riches to Rags: Ugly Americans and Plucky Irish". Village Voice. Retrieved 2009-07-06.
- "Ripley: my part in his downfall - Profiles, People". The Independent. 2000-02-18. Retrieved 2011-10-14.
|Wikiquote has quotations related to: The Talented Mr. Ripley (film)|
- Official website
- The Talented Mr. Ripley at the Internet Movie Database
- The Talented Mr. Ripley at AllMovie
- The Talented Mr. Ripley at Box Office Mojo
- The Talented Mr. Ripley at Rotten Tomatoes
- The Talented Mr. Ripley at Metacritic
- Shooting script by Anthony Minghella