O Talentoso Ripley

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.

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.

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

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.

Tom Ripley (Matt Damon) is a struggling lower class bathroom attendant in 1950s Manhattan. He's mistaken for being in the world of the super wealthy when an upper crust man hires Tom to retrieve his wayward son Dickie Greenleaf (Jude Law) from Italy for $1000. He finds Dickie with his girlfriend Marge Sherwood (Gwyneth Paltrow) and is lured into the world of the leisure class. When Dickie gets tired of Tom, Tom does the unthinkable and uses his underhanded skills to hang on.

Director/writer Anthony Minghella has instilled a sense of dread and foreboding. The acting is top notch with the most important coming from Matt Damon and Jude Law. There are honorable mentions to Philip Seymour Hoffman, Gwyneth Paltrow and Cate Blanchett. I do wish they play up Tom Ripley's homosexual side with Dickie and intensify the creepiness. Other than that, this movie has the perfect tone and sense of doom. It is such a perverse movie that you almost root for the conniving Tom Ripley.