Based on Patricia Highsmith's book The Talented Mr. Ripley (the first of her five Ripley novels known as the "Ripliad," she is also the author of the book that became Strangers on a Train), which of course was also filmed later by Anthony Minghella in ’99, the French version Purple Noon (Plein Soleil) proves to be a much more entertaining ride. That’s not to say that the American version isn’t also very good. I like it a lot and I don’t know which version is closer to Highsmith’s book, but where Minghella tried to ring psychological complexity out of simplicity, often making it feel overstuffed, director René Clément (most famous for Forbidden Games from ’52) goes for a more straightforward suntanned noir. And as much as I admired Matt Damon as Ripley, Clément’s ace-in-the-hole is the young French superstar Alain Delon who doesn’t wear his acting on his sleeve like Damon did--instead he just naturally oozes charisma, making the character less a super-geek psycho and more a smooth criminal.
The film starts right off with two American buddies (strangely, played by the French stars) living the cafe life in Italy. It’s casually mentioned that the father of the rich one, Philippe Greenleaf (Maurice Ronet), has hired the other, Tom Ripley (Delon), to convince his party-boy son to return home to San Francisco (?!) and finally face his adult responsibilities. Of course, Minghella’s Ripley starts in the States, with the setup played out on camera; score this to Purple Noon for cutting to the chase. None of Philippe’s other rich friends care much for Tom, including his girlfriend Marge (Marie Laforêt) and his pal, Freddie Miles (Billy Kearns, an actor actually born in America, though most of his career was in French cinema. He’s fine but the American version’s Philip Seymour Hoffman steals the movie in the role). But the ever cruel Philippe enjoys having Tom around where he can pick on him and taunt his lack of sophistication. (Ronet is much more mean-spirited and less charming than Jude Law’s take on Dickie). Ripley envies Philippe’s lifestyle, his money, his clothes, his freedom and his relationship with Marge. The American version gives Ripley an obvious homosexual obsession with his idol. Here it’s only lightly hinted at; Ripley’s main obsession is more financial and materialistic. The French version does not linger on their relationship long enough to get into those matters, and by the end of the first act, Ripley has purposely killed Philippe in order to steal his money and even woo Marge. The murder in the American version is a fit of passion; here it’s premeditated. The suspense comes in how he covers it up. It’s on a boat and it’s not easy. And the rest of the film is a cat and mouse game between Ripley and the police investigating the murder (and later Ripley is forced to kill Freddie), as Ripley pretends to be Philippe to keep the investigators and Marge off his trail.Continue Reading
The print journalist drama is a bona fide subgenre; the most popular films like All The President's Men or, more recently, Spotlight are about the crusading journalist overcoming obstacles in pursuit of the truth. Often more interesting is the cynical side of the coin, about the corruption of truth, but those films don’t usually connect with the public or award-givers as easily. The best of the genre would be a couple of masterpieces -- Billy Wilder’s Ace in the Hole and to some extent Orson Welles’ Citizen Kane -- but one film that went under the radar upon release and holds up very well is Shattered Glass. The 2003 docudrama was written and directed by Billy Ray, based on the true story of Stephen Glass (Hayden Christensen), a manipulative young reporter for the respected, 100-year-old highbrow magazine New Republic. When it appears that one of his stories was fabricated, an investigation by the editor, Chuck Lane (Peter Sarsgaard) leads to the embarrassing revelation that actually at least twenty-seven articles he wrote were completely made up.
Glass is the kind of passive aggressive guy who continually says "I’m sorry” or worse, asks his colleagues “Are you mad at me?,” putting them in the position to make him feel better, even when he’s wrong. He seems to have a knack for finding interesting characters and angles to political and cultural stories, and though he cozies up to anyone who could help his career, he’s especially cuddly to the women he works with (in an asexual way). But as a journalist he’s respected as a real wunderkind, apparently traveling the country finding witnesses to his colorful and offbeat pieces. When the beloved editor Michael Kelly (Hank Azaria) is fired for trying to overly defend his staff from management, he is replaced by the less lovable Lane. Glass writes an entertaining piece about a computer hacker convention that catches the admiring eye of the editor for Forbes Digital online magazine. He passes it to a writer, and here is where the Woodward and Bernstein of the story emerge. A pair of tech writers (Steve Zahn and Rosario Dawson) start to investigate Glass’ sources and find nothing but holes. While Glass can not account for all his shoddy note-taking, Lane becomes the only one who can take on the popular writer, as his colleagues, especially writer Caitlin Avey (indie darling Chloë Sevigny) have fallen under his spell.Continue Reading
The Talented Mr. Ripley
A lot of directors working today try to ape Hitchcock. His films are the gold standard for artful forays into psychological terror. Christopher Nolan is just the latest celebrated director trying to tap into a rich vein of Hitchcockian malice for his own films. But while Nolan succeeds with astonishing set-pieces within his films—think of the face-to-face interrogation room sequence between Batman and the Joker in The Dark Knight—his films are, for the most part, long on disorienting gimmicks and rather low on psychological depth. He also doesn’t go near the subject of sex and Hitchcock’s films are full of sex—sexual obsession, sexual dread, sexual paranoia—the one exception being sexual fulfillment which seemed to exist only within the arms of his most beautiful and iconic star couplings in films such as Notorious and To Catch a Thief.
The Talented Mr. Ripley is a first-rate Hitchcockian exercise from the late director Anthony Minghella and it has all of the corrosive sexual dread you could ask for as well as a disturbingly convincing subtext on the kinds of identity games Americans are always involved in. It’s glamorous and dark and manages to top Hitchcock in at least one respect—its undercurrent of eroticism is explicitly homosexual.Continue Reading