Greenleaf has requested the investigation be dropped. Plein Soleil 1960 starring Alain Delon pictured was highly regarded by Highsmith herself, as was The American Friend 1977 , adapted from Ripley's Game by German director Wim Wenders. 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. Many critics call Tom a psychopath; I believe it is not true. MacCarron further indicates that out of appreciation for Ripley's loyalty to Dickie—and to assure Ripley's silence—Mr. Greenleaf by mailing regular letters stating that Dickie is vacillating and can likely be persuaded to return if Ripley remains in Italy and continues to apply pressure on him.
He creates an elaborate charade that maintains both his own and Dickie's identities, checking into two separate hotels under their respective names, and passing messages between hotel staff members to make it appear that Dickie is still living. It is implied that several years earlier, Ripley came out as a homosexual to his parents who reacted by throwing him out of their house and severing all ties with him. Ripley, her first Ripley novel, published in 1955, shows Ripley in the process of inventing himself and finding his life's work. Once its touristy idyll is over, ''The Talented Mr. Free and clear of his crimes, Ripley boards a ship to Greece with Peter; it is implied that they are now lovers.
Since there is no legal record of Tom Ripley anywhere in the country since the trip to San Remo, the police believe he is dead. Ripley prepares to kill Marge when she discovers Dickie's rings in his possession, but Peter interrupts them. In a scenic, voluptuously beautiful film kudos to the cinematographer, John Seale that has a traffic-stopping cast, Mr. Ripley'' becomes an elaborate round of gamesmanship about Tom's sleight of hand and how it can be sustained. Paltrow makes as savvy a character actress as she does a swanlike leading lady. Join 1,878 other followers Error: Please make sure the Twitter account is. McCarron will not be sharing his findings with the police and asks Ripley to do the same.
He is greeted at the door by the private investigator, McCarron, and catches the tail end of a conversation between Marge and Mr. Arriving to Italy and making friends with Dickie and his girlfriend Marge, Tom starts living the life he always wanted. Ripley is becoming sexually obsessed with Dickie and also growing attached to the high-flying lifestyle his friendship with Dickie affords him. But as played by Matt Damon with a fine, tricky mix of obsequiousness and ruthlessness, the nicer new Ripley is in no danger of losing his sting. Remember that Ripley is already impersonating someone--Dickie's old Princeton friend.
Possessing no firm identity, he is attracted by the outstanding qualities of others, even if these qualities are, in fact, vices. When the hotel concierge mistakes him for Dickie, Ripley realizes that he can assume Dickie's identity. It was the second title that Pat crossed out. Upon arriving by ship in Europe, Ripley meets a young and wealthy textile heiress named Meredith Logue Cate Blanchett. The next morning, Tom, gazes over the piazza, once again showing how he is spying on Marge, Peter, and Meredith.
Peter and Meredith know each other and would certainly meet at some point on the voyage. The only problem is that without Dickie, Tom would not be able to afford all this—and Dickie knows it. Matt Damon might make a credible Tom Ripley, but only for those who never experienced Alain Delon's portrayal. He asks her why she is leaving, and she tells him she was not snooping, but rather looking for a needle and thread. Cut to a beach in Italy, where Dickie suns with Marge Sherwood , and the original deception turns evil. Greenleaf informs them that the private detective is investigating in San Remo.
Ripley seems to be close to murdering Marge, but is interrupted by their mutual friend who enters the apartment using the key Ripley gave him. However, as skeptical as Marge is, Tom remains protected by a number of powerful men who believe his story. Marge and Dickie have an argument, and Marge accuses both Dickie and Tom of being homosexual. He kills when killing is necessary in order to maintain the kind of life he enjoys, not because he enjoys murdering people. One day, while working as a restroom attendant at a fancy Manhattan hotel, he meets a Princeton graduate who bribes him to work at an alumni party at playing the piano because the Princeton guy just broke his hand and cannot play. Confused by his humble clothes, Meredith bemoans having to travel with her aunt and uncle, and confesses to him that she has thought about him a lot since they parted, asking him where he has been hiding, and Tom tells her he has been in police custody and is now keeping a low profile.
From her first novel, Strangers on a Train, which Alfred Hitchcock adapted for the screen in 1951, and throughout her writing life, Highsmith was always fascinated by evil. The year is 1958, and it seems an impossibly glamorous time as depicted among pampered American expatriates in some of Italy's most breathtaking settings. More surprising is how Highsmith coaxes the reader into cheering him on. Beyond being devastatingly good-looking, Mr. As Greenleaf tells Tom that in any moment of confrontation with Dickie, Dickie lashes out, the sound of a seagull can be heard, recalling the moment when Dickie lashed out at Tom in the boat for calling him out on his irresponsible behavior.
One of the pleasures of the two adaptations is that the plots are sufficiently different that you can watch one without knowing how the other turns out--or even what happens along the way. Ripley, the reader is better able to understand the forces that guide his actions and the inevitable repercussions he must face. Both choose to commit murder for the sake of goals they think are more important than traditional moral values. There is one sequence in the film involving an apartment, a landlady, the police and a friend who knows the real Dickie that depends on such meticulous timing and improvisation that if you made it speedier, you'd have the Marx Brothers. He cannot murder Meredith, as she is with her family so he strangles Peter to death, sobbing whilst he does so.