With The Talented Mr Ripley, Anthony Minghella gives us a superb adaption of Patricia Highsmith's novel of the same name. It tells the story of a young con artist, who almost accidentally appears to evolve into the role of a serial killer whilst in pursuit of a hedonistic lifestyle, who, with a combination of intelligence, cunning and a unique skill set, always seems able to evade justice.
Minghella is extremely clever in the manner in which he constructs his narrative. The first hour of the film almost plays out like some boys own gap year romantic adventure set on the sun-dappled shores of the late 1950's Italian coastline. Matt Damon is the ideal young protagonist, with Minghella highlighting what is almost (but not quite) the innocent boyishness of his title character, as he takes his first uncertain, but enthusiastic steps, in pursuit of La Dolce Vitta.
The movie is a triumph of casting. Besides Damon, Jude Law features in a star-making turn as Dickie Greenleaf, a character he succeeds in both making alluring and somewhat repellent, thus ultimately becoming the ideal lamb to be led to perhaps what is an unplanned slaughter. Gwyneth Paltrow has both the looks and talent to give us a multi-dimensional Marge, who we see convincingly becoming more confused and confounded by her "Dickie's" apparent behaviour, as the story continues to unfold. Phillip Seymour Hoffman in a smaller, but crucial supporting role, is perfect as the very much self-absorbed Freddie Miles, an old compatriot of Dickie's and a rival for Ripley, of Dickie's attention.
The thriller elements of the story are ratcheted up in the movie's second half as Ripley's darker motivations become more predominant and his actions become more challenged by the intercessions of characters such as the aforementioned Freddie, attractive socialite Meredith (Cate Blanchette), Marge's lawyer friend Peter Smith-Kingsley (Jack Davenport), the Italian police and an American private detective. The twists and turns resulting from Ripley's increasingly devious actions are both enormously suspenseful, but pleasingly realistic, given the skills we see him develop as well as the connections we see him establish.
Anthony Minghella's adaption of Highsmith's book is, in my opinion, an example of an extremely sophisticated, cinematic enhancement of the original literary work. Tom Ripley is introduced as a fascinating anti-hero. It just seems somewhat odd in this era of franchise brands, that unlike a similar character such as Hannibal Lector, no other well-known directors have gone on to successfully continue his complex, yet beguiling story.
Minghella is extremely clever in the manner in which he constructs his narrative. The first hour of the film almost plays out like some boys own gap year romantic adventure set on the sun-dappled shores of the late 1950's Italian coastline. Matt Damon is the ideal young protagonist, with Minghella highlighting what is almost (but not quite) the innocent boyishness of his title character, as he takes his first uncertain, but enthusiastic steps, in pursuit of La Dolce Vitta.
The movie is a triumph of casting. Besides Damon, Jude Law features in a star-making turn as Dickie Greenleaf, a character he succeeds in both making alluring and somewhat repellent, thus ultimately becoming the ideal lamb to be led to perhaps what is an unplanned slaughter. Gwyneth Paltrow has both the looks and talent to give us a multi-dimensional Marge, who we see convincingly becoming more confused and confounded by her "Dickie's" apparent behaviour, as the story continues to unfold. Phillip Seymour Hoffman in a smaller, but crucial supporting role, is perfect as the very much self-absorbed Freddie Miles, an old compatriot of Dickie's and a rival for Ripley, of Dickie's attention.
The thriller elements of the story are ratcheted up in the movie's second half as Ripley's darker motivations become more predominant and his actions become more challenged by the intercessions of characters such as the aforementioned Freddie, attractive socialite Meredith (Cate Blanchette), Marge's lawyer friend Peter Smith-Kingsley (Jack Davenport), the Italian police and an American private detective. The twists and turns resulting from Ripley's increasingly devious actions are both enormously suspenseful, but pleasingly realistic, given the skills we see him develop as well as the connections we see him establish.
Anthony Minghella's adaption of Highsmith's book is, in my opinion, an example of an extremely sophisticated, cinematic enhancement of the original literary work. Tom Ripley is introduced as a fascinating anti-hero. It just seems somewhat odd in this era of franchise brands, that unlike a similar character such as Hannibal Lector, no other well-known directors have gone on to successfully continue his complex, yet beguiling story.