In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve Dickie Greenleaf, a rich and spoiled millionaire playboy. But when the errand fails, Ripley takes extreme measures.
A veteran high school teacher befriends a younger art teacher, who is having an affair with one of her 15-year-old students. However, her intentions with this new "friend" also go well beyond platonic friendship.
A conservative judge is appointed by the President to spearhead America's escalating war against drugs, only to discover that his teenage daughter is a crack addict. Two DEA agents protect an informant. A jailed drug baron's wife attempts to carry on the family business.
Benicio Del Toro,
The 1950s. Manhattan lavatory attendant, Tom Ripley, borrows a Princeton jacket to play piano at a garden party. When the wealthy father of a recent Princeton grad chats Tom up, Tom pretends to know the son and is soon offered $1,000 to go to Italy to convince Dickie Greenleaf to return home. In Italy, Tom attaches himself to Dickie and to Marge, Dickie's cultured fiancée, pretending to love jazz and harboring homoerotic hopes as he soaks in luxury. Besides lying, Tom's talents include impressions and forgery, so when the handsome and confident Dickie tires of Tom, dismissing him as a bore, Tom goes to extreme lengths to make Greenleaf's privileges his own. Written by
A ravishing, emotionally complex, and heart-rending film of great elegance
Seeing this gorgeous tango between Damon and Law, I was never less than captivated and riveted. Minghella has fashioned something literate, powerful, seductive, charming, tragic, and beautiful. His casting is nearly perfect. Damon is unforgettable as an amoral but fascinating character whom we even sympathize with by film's end. Law is stunning as Dickie, the man whose life Ripley adores. Paltrow is good, though she is not given a whole lot to do. Blanchett is perfect in a small but pivotal role that only adds to her already impressive filmography. This is a near-masterpiece. Minghella's talent for visual opulence is second to none, and his work here should earn him a directing Oscar nod. The same goes for many others associated with this brilliant achievement. The ending is as unsuspected as it is inevitable, that is, sad and unsettling. In fact, the whole film underscores these emotions. Whereas Highsmith's original novel was cold and sometimes inert, the film makes Ripley much more of a living, breathing character, and as such, a great symbol of tragedy. It may be some time before I forget this intense experience. Certainly one that deserves multiple viewings. One of the best films of 1999. I think this may be one of the best pictures I have ever seen. Bravo everyone. A moving, rich knockout!
106 of 140 people found this review helpful.
Was this review helpful to you?