First of all -- arrrggghhh! Please look up the words "sociopath" and "psychopath" before using them in reviews of this film. "Pulp Fiction" was full of the former, and Hannibal Lecter is the best example of the latter ever portrayed on film. Thank you.
Minghella, who created a truly remarkable and excellent film last time around, adapting an even better novel by Ondaatje ("The English Patient", of course), this time has bettered the novelist (Patricia Highsmith), IMHO, with an engaging story worth telling and exceedingly well told. Matt Damon's portrayal of Tom Ripley fulfills the promise his earlier performances made but never quite materialised. This is no psychopath nor a sociopath (cf., the scene in the drifting boat with him and the body in repose; the tear in the opera scene; his "basement room" that no one can enter but in which he wanders alone and afraid, wanting to give someone the key so they can enter), but a complex, credible human being led astray by greed, envy, jealousy, infatuation and chance opportunity. Oh, talented indeed, Mr. Ripley, and not the first fine film character whose talents bring him and others to tragic ends. In the novel(s) Mr. Ripley is more two-dimensional and more indeed psychopathic, in the colloquial sense at least. Here his character is more rich and hence, to me, both more chilling and more sympathetic.
Jude Law's portrayal of Dickie was also superb. I had less sympathy for this spoiled and arrogant cold fish than for his nemesis -- and that speaks to how well Law played the part -- nuances of speech, gesture and inflection which came not only, I'm sure, from fine writing and directing, but from his own feel for the role and ability to express it.
Gwyneth Paltrow was given a much more developed role here than in "Shakespeare in Love" and handled it deftly and convincingly. Cate Blanchett in her smaller role was able to convey both the repellent character of the spoiled rich, beneath the veneer of culture, and at the same time the ordinary human need for connection, attention and affection which makes even the idle rich human after all.
Smaller roles by Philip Hoffman (who plays creepy but very sharp chacters very well: "Boogie Nights", "Happiness") as Dickie's well, sort of friend; Jack Davenport as Peter (just the scene when he and Tom first collide in the opera house -- when everything was communicated in a couple of glances and gestures -- was enough for kudos) and Sergio Rubini as Inspector Riverini all contributed to the overall acting excellence.
Add to this the breathtaking scenery and cinematography and the diverse musical score (jazz, opera, symphonic) and intelligent script writing and it's a thoroughly fine film.
The crafting of the last scene on the cruise ship exemplifies the very pleasing attentiveness to detail in this film.
I'd nominate Minghella for director and screenplay adaptation, Damon for actor, Law for supporting actor, John Seale for cinematography, Walter Murch for editing. Costumes and art direction were very well done.
I would not give this film all these awards -- there's "Besieged", "American Beauty", "The Fight Club" (yup, that's right), "Bringing Out the Dead" and "The Insider" to consider (and no NOT the manipulative and simple-minded "The Green Mile"). All in all a great year for films after last year, when "The Thin Red Line" was way ahead of the rest, leaving "Gods and Monsters", "Celebration" and "Central Station" to vie for second best.
IMHO, that is.
Minghella, who created a truly remarkable and excellent film last time around, adapting an even better novel by Ondaatje ("The English Patient", of course), this time has bettered the novelist (Patricia Highsmith), IMHO, with an engaging story worth telling and exceedingly well told. Matt Damon's portrayal of Tom Ripley fulfills the promise his earlier performances made but never quite materialised. This is no psychopath nor a sociopath (cf., the scene in the drifting boat with him and the body in repose; the tear in the opera scene; his "basement room" that no one can enter but in which he wanders alone and afraid, wanting to give someone the key so they can enter), but a complex, credible human being led astray by greed, envy, jealousy, infatuation and chance opportunity. Oh, talented indeed, Mr. Ripley, and not the first fine film character whose talents bring him and others to tragic ends. In the novel(s) Mr. Ripley is more two-dimensional and more indeed psychopathic, in the colloquial sense at least. Here his character is more rich and hence, to me, both more chilling and more sympathetic.
Jude Law's portrayal of Dickie was also superb. I had less sympathy for this spoiled and arrogant cold fish than for his nemesis -- and that speaks to how well Law played the part -- nuances of speech, gesture and inflection which came not only, I'm sure, from fine writing and directing, but from his own feel for the role and ability to express it.
Gwyneth Paltrow was given a much more developed role here than in "Shakespeare in Love" and handled it deftly and convincingly. Cate Blanchett in her smaller role was able to convey both the repellent character of the spoiled rich, beneath the veneer of culture, and at the same time the ordinary human need for connection, attention and affection which makes even the idle rich human after all.
Smaller roles by Philip Hoffman (who plays creepy but very sharp chacters very well: "Boogie Nights", "Happiness") as Dickie's well, sort of friend; Jack Davenport as Peter (just the scene when he and Tom first collide in the opera house -- when everything was communicated in a couple of glances and gestures -- was enough for kudos) and Sergio Rubini as Inspector Riverini all contributed to the overall acting excellence.
Add to this the breathtaking scenery and cinematography and the diverse musical score (jazz, opera, symphonic) and intelligent script writing and it's a thoroughly fine film.
The crafting of the last scene on the cruise ship exemplifies the very pleasing attentiveness to detail in this film.
I'd nominate Minghella for director and screenplay adaptation, Damon for actor, Law for supporting actor, John Seale for cinematography, Walter Murch for editing. Costumes and art direction were very well done.
I would not give this film all these awards -- there's "Besieged", "American Beauty", "The Fight Club" (yup, that's right), "Bringing Out the Dead" and "The Insider" to consider (and no NOT the manipulative and simple-minded "The Green Mile"). All in all a great year for films after last year, when "The Thin Red Line" was way ahead of the rest, leaving "Gods and Monsters", "Celebration" and "Central Station" to vie for second best.
IMHO, that is.