Alfred Hitchcock often unbalances us with ordinary people put in extraordinary situations and blurs the lines between good and evil. Anthony Minghella has done much the same here in his film translation of Patricia Highsmith's The Talented Mr. Ripley. The opening sequence with its disjointed credits and haunting lullaby probe Tom Ripley's mind with deep foreboding, as he wishes that the events we are about to witness all could be erased, including himself.

Initially loner Ripley lives uncomfortably "second class" in a New York City basement, observing the wealthy and sophisticated from a distance though appreciating the finer cultural aspects of the privileged. Working a menial job as a bathroom attendant Ripley loves classical music—accompanying a singer, observing opera from behind the curtains, and sneaking on stage after hours to play the piano. Ripley's ordered life will soon change, much like the jazz music that he will come to embrace.

Matt Damon nails the Ripley role perfectly in 1999's most complex role. Damon plays the likable, introverted young Ripley, who is adept at imitating others and playing chameleon. When a shipping tycoon thinks that Ripley knows his son from the 1956 Princeton class, he convinces him to travel to Italy to convince his son Dickie to return to New York.

Ripley goes and falls in love with Italy and with the leisurely lifestyle that Dickie (Jude Law) and girlfriend Marge (Gwyneth Paltrow) enjoy. He also falls in love with Dickie. Ripley is having the time of his life, but Dickie grows tired of Tom and the plot grows dark. Without giving up major plot elements here, let it suffice to say that Ripley makes full use of his chameleon-like talents. After all, "I'd rather be a fake somebody than a real nobody."

Minghella does masterful work with Highsmith's prose. The carefully selected locations and scenery evoke the mood of La Dolce Vita in the 1950s, the film composition and editing are tight and effective, and the acting performances from Damon and the supporting cast are outstanding. As repulsive as Ripley's acts are, Damon makes us feel his vulnerability and painful loneliness. The motifs Minghella chooses are effectively interwoven with the plot—water imagery abounds and the jazz music that Dickie adores aptly parallels Tom's ever-flexible character.

The music itself proves important in bringing out character from the start. The analytical and controlled Tom Ripley loves classical music—it's the music we see him playing and admiring in the beginning, and we will later see him cry with emotion during an opera scene. Conversely, Dickie goes with the flow and lives life loosely, continually needing new friends and experiences to keep him from getting bored.

Significantly, Ripley gains acceptance into Dickie's world when he goes to a jazz club and adequately performs on stage with an impromptu song. Ironically, Ripley turns out to be a much better “jazz” player in real life—he proves far more adaptable than the rigid Dickie, who remains a mediocre sax player that confines himself to the comfortable and superficial good life. Indeed, one of the film's pleasures is seeing how Ripley quickly adjusts to complications.

Minghella pays close attention to detail throughout. For instance, take note of the marble statues. Minghella chooses incomplete statues missing either the head or the body consistently to symbolize the incompleteness of Tom Ripley. Note particularly the marble bust in Ripley's Rome apartment of the Emperor Hadrian, a highly regarded and successful ruler until near the end of his life when his young male lover drowned in the Nile.

Other details that might go unnoticed occur in the masterfully composed opening credits. The disjointedness of the imagery suggests Ripley's character and note that the blue and orange colorization matches the jazz cover of the Chet Baker album that Ripley listens to as he crams for his forthcoming meeting with Dickie. Note also the use of "My Funny Valentine"--in NYC the ambiguous Ripley cannot determine whether it's sung by a man or woman, and it becomes the "love song" that he sings understatedly to Dickie in Naples.

If nothing else, watch The Talented Mr. Ripley for the acting of its young stars. Jude Law deservedly was nominated for an Academy Award for his natural portrayal of the vivacious golden playboy—the center of attention life of the party who expects everyone to love him. The Academy wasn't so kind to Matt Damon, robbing him of his rightful nomination as the lead actor. Perhaps Damon was too subtle for the Academy members, or his character far too dark in the end. Yet Damon effectively treads an acting minefield to communicate his character's longing and loneliness before turning to regions that horrify.

Other supporting actors do fine work. Phillip Seymour Hoffman remains one of the finest character actors in the business, and here he personifies the ugly American who perceptively sees Ripley as a low-lifer from their first encounter. Gwyneth Paltrow subtly uses her body language to change from an open and welcoming soul to a suspicious and isolated one as the film progresses. Credit Minghella for coordinating his fine ensemble cast and getting his actors to understand their roles.

Like Hitchcock, Minghella takes a cinematic roller coaster ride from lightness and humor to darkness and brooding. The Talented Mr. Ripley is not for everyone. Though nothing is explicit, the homoeroticism may turn off some movie patrons.

Other viewers will feel manipulated, as we are drawn very deeply inside Ripley's character, and this is a very uncomfortable place to be—figuratively in the basement of the soul. But there can be no denying Minghella’s craft. Each scene fits in with his overall vision.

The Talented Mr. Ripley is a disturbing movie that will linger long after the final reel has ended. Second viewings to catch the layered meanings and subtleties that Minghella has crafted within his underrated film are worth the trip if you enjoy character studies, thrillers, or psychological dramas. Ultimately, those who can relate to Ripley's loneliness and alienation are far more likely to "enjoy" the film than people who have no similar sense of isolation.



For a great amount of detail about the film, be sure to watch and listen to Anthony Minghella's detailed commentary on the DVD version to get a sense of how serioiusly the director planned the film and pays attention to detail.