El amigo americano

This movie is perhaps the best of the Ripley movies out there. Malkovich, cynical sociopath, with cool but deadly presence, is perfectly cast. Movie takes a fresh look at some moral issues, and, as with other material from Patricia Highsmith's pen, challenges common morality. Movie is shot on location, which is only appropriate. A bit old fashioned and not for the masses marinated in social media "culture", but if you liked Silence of the Lambs this might be a movie for you.

In Ripley's Game, the latest screen adaptation of Patricia Highsmith's series of novels, John Malkovich plays Tom Ripley, the bisexual art connoisseur whose game is manipulation of people for his own ends. The film directed by 70-year old Liliana Cavani, is entertaining but lacks the probing subtlety of Wim Wenders The American Friend, a 1979 Ripley adaptation. Ripley is an unscrupulous art dealer and also a cold-blooded killer. He is cerebral, wealthy, charming, talented, and entirely without principle with something clever to say about everything, even murder. "The most interesting thing", he says, "about doing something terrible is often, in a few days, you can't even remember it." Ripley justifies his acts by saying that they rid the world of useless predators. Malkovich's performance keeps the film afloat, though his smug, sinister persona often borders on camp and Dougray Scott is unconvincing as picture framer Jonathan Trevanny.

Ripley's Game takes place about twenty years after Anthony Minghella's The Talented Mr. Ripley leaves off. Ripley (Malkovich) has married into wealth and now resides in a luxurious Italian villa with his wife Luisa (Chiara Caselli), a professional harpsichord player. When an old crony, Reeves (Ray Winstone) asks him for help in dealing with Berlin mobsters threatening his business, Ripley thinks of a local art restorer and picture framer, Jonathan Trevanny (Scott) who is known to be dying of leukemia. Trevanny is a good candidate in Ripley's mind because he recently insulted him at a party by blurting out "That's the trouble with Ripley-too much money and no taste." Ripley's interest, however, is mostly in the pleasure involved of seeing a mild family man turned into a cold-blooded assassin, no matter how implausible the scenario might be. Trevanny falls for the bait and collects $100,000 to kill a Russian at the zoo.

As one hit deserves another, a second more dangerous plot is hatched to take place on a crowded train but Ripley has to come to Trevanny's rescue when too many bad guys show up. Afterwards, events begin spiraling out of control forcing the picture framer to hide the truth from his wife Sarah (Lena Headley). Though Malkovich fits into the role perfectly, Scott's performance provides little insight into what led a decent family man to become a paid killer. The ending, which could have been suspenseful, is simply unpleasant as the body count escalates. Though beautifully photographed and filled with dark humor, there is little at stake in Ripley's Game and the entire project feels unimportant as reflected in the studio's decision to bypass a theatrical release and send it straight to DVD.

The picture focuses on Tom Ripley (John Malkovich) , a cold and cult assassin . At the beginning , the cool Ripley and his associate (Ray Winstone) are planning a swindle which goes wrong . After that , the wealthy as well as ruthless killer convinces a man (Dougray Scott) happily married (Lena Headley) to execute a crime on a mobster for a great amount of money ; but the happenings go out of control and the cruel gangsters seek vengeance .

This provoking film is an exciting thriller and superbly interpreted . In the picture there is drama , action , tension , intrigue and a little bit of violence when the murders happen . From start to finish the suspense is continuous and that's why it is entertaining . Acting by John Malkovich is top-notch , he's excellent as Ripley , an urbane , and literate -but brutal- murderer with exquisite manners living luxuriously in a villa in the Veneto . Dougray Scott as the ill-fated and victim of his play gives a first-rate interpretation . Ray Winstone plays correctly an avaricious and savage nasty . Fascinating musical score by the great Ennio Morricone . Glimmer and watchable cinematography by Alfio Contini who shows stunningly the Italian palaces , theaters and interior scenarios . The film is based on Patricia Highsmith novel , whose Ripley personage has been well adapted in former versions as ¨Blazing sun¨ (Rene Clair with Alain Delon) and ¨The talented Mr.Ripley¨ (Anthony Minghella with Matt Damon) . The motion picture was rightly directed by Liliana Cavani (The night porter , Francesco) . However , financial problems and former commitment to direct an opera caused Cavani had to leave the production before final shooting and Malkovich , then , took over and completed the movie . The flick will appeal to John Malkovich fans . Rating : interesting and well worth seeing .

Anyone who starts watching this little known film will have a hard time turning away. It takes Patricia Highsmith's novel and turns it into a stylish thriller, full of handsome interiors and lush location photography in Germany and Italy. Given the benefit of expert performances by John Malkovich, Dougray Scott and Ray Winstone, it's a tale that moves along at a fast clip and never lets go of the suspense.

It's more absorbing to watch without knowing anything of the plot, so I'll skip plot details and just say it has elements of Highsmith's other suspense tales (innocent man drawn into a murder for hire scheme) and most closely resembles her "Talented Mr. Ripley" story so successfully brought to the screen a few years ago.

John Malkovich, with his strange acting mannerisms makes a quirky anti-hero as Ripley and gets excellent support from Dougray Scott who makes the innocent carpenter a believable and sympathetic collaborator. Ray Winstone makes the obnoxious Reeves a vivid character. The train sequence involving the second murder is extremely well done.

Highly recommended as a vivid, colorful thriller.

[s p o i l e r s]

There have been many cinematic Highsmith stories, and even many filmed Tom Ripley's. Why another one? Well, as I am hardly the first to say – Ripley's Game came out in England last summer, and had a brief theatrical showing in New York several months ago – there are ways in which John Malkovich was both born and bred to play the mature Mr. Ripley. Give the young one to Alain Delon or Matt Dillon: both were arguable versions of the fledgling scoundrel. But it's uncanny how well Malkovich wears the skin of the grown man. And it's cruelly weird that in America a film of this caliber could have been sent straight to DVD.

Life requires action, sometimes the slow patience of the lizard, other times the gift of abrupt violence. Ripley's accomplished murders and thefts, so bold, so risky, so improvisational, prove that he possesses the existential courage one needs to survive and enjoy life. As his reward for jobs well done, Tom occupies an expansive Palladian villa in Treviso with a beautiful harpsichordist. He enjoys the best wines, the best cars, and the best risotto made from truffles in his kitchen by the best cook in the Veneto. He knows the difference between a Guercino and a Parmigianino and he's never anything but well dressed. Markovich serves the role as well as it serves him: isn't he, like Ripley, a brash American turned well-heeled European sybarite?

The paradox of the Ripley novels is that a master criminal may also be good at the art of living, and the tricky thing about watching Malkovich is that one may be tempted to admire him. This isn't a new experience for the reader of Highsmith's many novels, particularly the Ripley ones: to enter the world of her criminals has the appeal of being bad and getting away with it. As Graham Greene famously said, `[Highsmith] has created a world of her own – a world claustrophobic and irrational which we enter each time with a sense of personal danger.' And yet within the first ten minutes we see Ripley kill a man with a poker for little more than mishandling some renaissance drawings.

The perfect foil for Ripley in the movie is Trevanny (Dugray Scott), a man whom fatal illness has given an edge of desperate bravado, but who remains sensitive to moral values. Eventually after being lured into committing a serious crime for big money (which he can leave to his wife and young son), Trevanny waits with Ripley in the villa for some gangsters bent on revenge and as they chat to pass the time he remarks that in school he always got caught.

Tom smiles and says, `You know why? Because you didn't think of just killing your teachers!'

John Malkovich hasn't very often played a nice person. Yes, he's been Biff in Death of a Salesman and Tom in The Glass Menagerie, but then we get to Lennie in Of Mice and Men and (triumphantly) Valmont in Dangerous Acquaintances and Gilbert Osmond in Portrait of a Lady. In between he has been an out and out villain as in In the Line of Fire, or supercilious prigs like Port in The Sheltering Sky and Jake in The Object of Beauty. Tom Ripley is Malkovich's triumph. It combines all of these. Is it a surprise that playing the wickedest man of all, he has never been more appealing? Finally all his slimy traits here come together. This is what he's about, we say. At last it all makes sense. Being Ripley has never been more fun and that's because the role fits the actor like a glove. There's something sublimely ugly about him that reminds us that good looks are not the only attractive features in a man. There is also power, taste, and originality. He's elegant, he's an esthete, and he's smart. When Reeves asks him if he has the extra fifty thousand he's offering, he just snaps his cell phone shut. The ruthless man is also impatient with stupidity.

This is an actor's film. Ray Winstone is superb in the smaller role of the abominable, self satisfied lowlife Reeves who comes to Ripley to get a murder done. Reeves is little more than a pretext for a caper, a reason for coming out of retirement, but Winstone makes him forward without ever being overdrawn. Dugray Scott is Trevanny, the picture framer in the Italian town near which Ripley lives who has acute myelogenous leukemia. Scott is an actor who looks both handsome and unwell. He may suffer a little too much, but he also has an admirable recessiveness that keeps the glamour Cavani spreads over her characters (they're all a bit too well dressed, but this film comes out of Italy, the land of 'bella figura') from overwhelming his essential weakness. He also illustrates the strength that comes to desperate men. He gets just as mean as Ripley toward the end, and he dies with a smile on his face.

This film shows us the two essential elements of Patricia Highmith's books: Tom Ripley is pure evil; and it's a lot of fun to be him. Cavani's suave Game gives the Devil his due. People unfamiliar with the Highsmithian sensibility may find the end unsatisfying. But it is perfectly in character.