And I refuse to hear otherwise. Anthony Minghella's direction is more than solid, and this is helped by the stunning photography, courtesy of 1950's Italy. Ripley hardly ever gets a mention. Jude Law and Philip Seymour Hoffman for example are perfectly cast. 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'd say it picks up speed around the 15-20 minute mark and it roller coasters from there. He tries, but ultimately fails. While I have been told that the movie is different than the book, I applaud Mingella for his tight script and seamless direction. Matt Damon's natural dullness works wonders here. This bespectacled young man is the deeply unstable no-mark sent out to retrieve the errant wonder of Dickie for his weary father, and his immediate infatuation with the carefree jazz-fiend soon slips eerily into obsession, a fractured psyche consumed by its dark soul where murder will beget murder. Tom forges a suicide letter from Dickie, and the police and private investigator come to conclusions that leave Tom innocent.
Also, the relationship between Blanchett's insecure woman and Damon's slippery self isn't quite right, perhaps, and Hoffman's role is too spectacular to be so brief, in a way. Yet again, we are given a prime example that when violence grows out of a strong plot we, as an audience, accept it. When Dickie impregnates a local woman, he rejects her and she drowns herself. It appears from the critics they can't decide either crime drama, psychological thriller, take on class and gender. Here, though still hopelessly oblivious to sexual currents between the men, she becomes a reminder that Ms. His actions are always amoral and through his lies and deception, it is obvious that he doesn't care at all for anyone around him.
Just as a skillful conjuror diverts the gaze of the audience from where the trick is really happening, so Minghella disengages our critical faculties with picturesque backdrops of Rome, Venice and even Jude Law's posterior. Tom Ripley, the amoral, becomes the tortured immoral here. Ripley is considered one of the first showcases of both Jude Law and Matt Damon's talents as film actors. Tom Ripley is a bit of a non-entity but also a bit of a chameleon who can make people think he belongs. A sensational script adaptation, stunning Italian locations and an extraordinary supporting cast.
Each character in the film is either pretending to be something else, or playing directly to a superficial identity. Patricia Highsmith's Tom Ripley gets a deluxe reincarnation here, merit of the talented Mr. Few enough people know that The Talented Mr. A word about the film's Dickie Greenleaf: this is a star-making role for the preternaturally talented English actor Jude Law. Terrific, Oscar-caliber support by Gwyneth Paltrow and Philip Seymour Hoffman as Law's fiancée and best friend, respectively ; beautiful, classy production values throughout. In fact, the whole film underscores these emotions.
Since that first time I have thought about the various clues scattered along the way that Minghella throws out to help us along. There have been some people who think Matt Damon is too colorless here. Even Tom himself wants to know. When each character is laid bare, when each character is most fully themselves, when each character stops acting and pretending, they are undone. Even after it's over, you will be doing a mental tango of all the information you have received and trying to sort out all the pieces. Almost every aspect of Rene Clement's 1960 motion picture is superior to that of 's 1999 version, from the cinematography to the acting to the screenplay. Ripley has is murdering people.
When it does, in the deadly encounter that sends Tom Ripley into his new life, the film changes greatly in tone. Ripley 1999 really is one of the best crime thrillers I've ever seen. His Ripley is a better written character than Delon's and his performance is top notch, but Delon was breathtaking on the screen. If Minghella disliked the book so much, he shouldn't have taken on the project in the first place. He is a perfect imitator, able to copy voices, handwriting, signatures, and mannerisms. Dickie can't escape the fact that he loves the nightlife -- that he strays, that his attention only lasts as long as the diversion.
Oscar-winning English Patient director Anthony Minghella's latest movie is full of his trademark loving attention to detail, sumptuous locations, and superb performances. Ripley'' becomes an elaborate round of gamesmanship about Tom's sleight of hand and how it can be sustained. Cate Blanchett, never more vital, swans into the movie and lights it up with a hopeful gaiety — she becomes a flirty nemesis Tom can't escape, constantly if unwittingly thwarting his plans. As soon as he says this, he manages to get himself in a deep hole of trouble as Mr. He borrows a Princeton blazer to play the piano at a rooftop party in Manhattan and a rich couple assume he must have known their son Dickie at Princeton.