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.
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
Jude Law learned to play the saxophone and Matt Damon learned to play the piano for this film. Damon's training enabled him to recreate the proper keyboard fingering; however, the music heard in the film is played by Sally Heath (the Bach) and Gabriel Yared (the Vivaldi). See more »
When Tom and Dickie are in the boat on the sea of San Remo, in the background is visible Casinò d'Anzio situated in town of Anzio, some 60 km south of Rome. It's the same building of the previous jazz session scene. See more »
If I could just go back... if I could rub everything out... starting with myself.
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The opening title uses all the adjectives of the complete title before cutting to the final "The Talented Mr. Ripley". See more »
First of all, I saw this movie twice, which is a rarety in itself these days. The actors did what all actors should do in a successful motion picture, or stage play, and that is submit their own egos to the needs of the production. Matt Damon especially surprised me with his total devotion to the part of Ripley. Jude Law, once again, proved his talents as an actor by becoming Dickie Greenleaf. Paltrow and Blanchett also totally believed in whom they were playing and brought that to the screen. While I have been told that the movie is different than the book, I applaud Mingella for his tight script and seamless direction. Yet again, we are given a prime example that when violence grows out of a strong plot we, as an audience, accept it. There was not wasted motion or emotion in this film and I cannot say enough good things about it. I am surprised that the Academy so overlooked this film. Go see it.
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