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.