Customer Reviews

Ripley's Game

5 star:		(13)
4 star:		(29)
3 star:		(6)
2 star:		(4)
1 star:		(2)

 

 

Patricia Highsmith's Tom Ripley is a true sociopath and Malkovich plays him chillingly. Although I had trouble understanding the basic scam that seems to be driving the plot of this movie, I have a hunch it is not really significant anyway. The movie seems to be primarily a metaphor for modern (postmodern?) life and the seduction of an honest (but weak and dying) man by evil. Dougray Scott plays the "innocent" party. His moral struggle and agony is constantly displayed on his face. It is hard to imagine how he as an actor could produce all this intense emotion when he is getting nothing but deadpan understatement from Malkovich. But their partnership on the screen is truly eerie. And the stony coldness of the Berlin setting (with its unforgetable associations with nazi evil) only adds to the general atmosphere of creepiness. Although I don't know if his line comes from Highsmith's novel, it does seem consistent with the existential aura in which she casts her killers to have Scott's character (at his most distraught) ask Ripley, "Why me? Why did you choose me?" Ripley's answer would have done Camus proud.

It's hard to picture Malkovich as the elder version of Matt Damon's Ripley (from The Talented Mr. Ripley). There is no sense of Ripley as the romantically disappointed lost soul committing murders in spite of his earnest desire to be socially accepted. Malkovich "thrives" socially--has a wife (or lover), and even enjoys harpsicord music. It's just not clear what he "gets" from all his success. That, to me, is the definition of a sociopath.

DVD extras can only be accessed via computer/internet.

Twice as enjoyable as "The Talented Mr. Ripley", and probably shot for a tenth of the price, this later installment in the Ripley saga can happily dispense with the coming-of-age angst and crank up the mature Ripley's violent menace. Living a quiet life in a villa near Venice, Ripley is called upon by an old partner to arrange an assassination. After some consideration he proposes a total innocent for the dangerous task - a local picture framer against whom Ripley has a grudge. Ripley also knows the man is terminally ill and will need money to provide for his wife and son. He looks to be a suitable pawn but, of course, not everything goes as planned . . . John Malkovich brings a chilling and seductive elegance to the role of Ripley which Matt Damon could never provide. It's essential here, because what's important about this story is Ripley's utter amorality and dangerous vanity, and how both traits lead him into a situation in which his self-conception is ultimately challenged. The screenplay has just the right mix of psychological sophistication and edge-of-your-seat plotting, and Liliana Cavani's assured (and occasionally bloodthirsty) direction makes the most of it. In the excellent cast, Ray Winstone is particularly memorable as Ripley's violently inept offsider, Reeves.

Insults lead to bad tidings in "Ripley's Game", an Italian production that contrasts high art with everyday murder and thievery and effectively pulls off this dichotomy. John Malkovich stars as Ripley, a self-described "talented improvisor" that lives like a prince in an Italian estate thanks to his mischevious nature. His lifestyle as killer and art thief supports his girlfriend's high falutin' keyboard career in addition to his own very prosperous lifestyle.

When a 9-to-5 married picture framer unknowingly insults Ripley during a party, he sets up the schnook through lowlife partner Ray Winstone -- an earthy foil to Malkovich's refined character -- and he is soon knee deep in an enterprise of murder and mayhem that monumentally disrupts life for his lovely wife and young son. This, Ripley suggests, is "the game."

Soon the picture framer -- who is driven to murder by greed and his own cancer -- is led into a deepening morass of killing and greed where Ripley is both antagonist and protagonist. The action is carried out with worldliness, humor and subtlety, all very European. In the end it is never clear who wins or loses and which is really the bad guy. Almost everyone besides Ripley loses something, proving he is master of his own game.

My favorite John Malkovich movie was filmed in Italy and Germany. Ennio Morricone's alternately minimalist and lyrical score adds dimension to the mystery. This is a rewarding flick for anyone that likes mystery, murder and good filmmaking with a few plot twists. There are enough unexpected turns -- watch for Malkovich to exit a train's restroom at a critical juncture -- that the movie never gets boring.

The highest praise I can give to any movie is that, while watching it, I begin to dread the fact that it will end. I found this story to be THAT enjoyable....and then some.

The lead character, Ripley, is presented as a well-aged version of the sociopathic con artist played by Matt Damon in "The Talented Mr. Ripley". As played by the inimitable John Malkovich, this older, wiser Ripley is infinitely more sophisticated, sly, treacherous, and fascinating. He lives in a wonderful Italian villa with a gorgeous wife/mistress who knows and embraces his true nature. When publicly insulted by a neighbor, played by Dougray Scott, he initiates a plot to gain revenge, ultimately turning the innocent man into a hired killer who is then tortured by his own conscience....a punishment that could never affect the consciousless, sociopathic Mr. Ripley.

Malkovich is a unique actor, never content to merely show up and speak his lines convincingly, he actually BECOMES the character...and every devilish smile, lick of the lips, flash of anger, etc. becomes an expressive action by the character, not by the actor. He is so completely suited to this role that it is impossible to envision anyone else playing the part.

The dialog is wonderful....complex, intellectually stimulating, and natural. Indeed, some of the comments on the nature (and absence) of conscience and guilt achieve the level of fine literature. Conversations are generally riveting, the humor is generally very dark, and the suspense reaches Hitchcockian levels. As the Scott character, who is dying of leukemia, sinks deeper and deeper into the depravity of his hapless plight, he actually begins to seek, rather than fear, death.

This is a very sophisticated, emotionally involving story that will appeal strongly to mature viewers. It never received the attention it deserved, and ranks among the best of the "undiscovered" movies. I give it my highest recommendation.

Although I enjoyed the film version of 'the Talented Mr. Ripley with Matt Damon in the lead, John Malkovich's portrayal of an older more desensitized Ripley captures the essence of the Highsmith character more accurately. Bravo Mr. Malkovich! WHile Damon's Ripley ponders over his crimes with a sense of regret fueled by his need for love, Highsmith's and Malkovich's Ripley is too amoral to care. And while in this story, the third of the Ripley quintet, we do encounter a slight bit of conscience and perhaps a tad of regret as Tom maliciously involves a dying man in an assasination simply because he was overheard insulting him, we see Ripley in all his unsavory glory, taking control of situations with the swift precision of the sharpest meat cleaver.

The plot pretty much follows Hishsmith's novel; a slight change of venue from France to Italy and the substitution of an Italian wife rather a French one for Ripley does not change the opulent backdrop depicting the spoils resulting from Tom's doggedness to live a life of good taste and extravagent wealth.

If you are a fan of the Highsmith novels, I recommend this as a must-see. If you are not acquainted with the books, do become so---get to know Tom's malignant audacity and then check out Malkovich's rather on target portrayal. Would love to see Malkovich as Ripley in 'Ripley Goes Underground' where his art deal scam is explained more thoroughly.

If you were a keen follower of the Hannibal's franchise, this movie would suit you nicely. Whilst the Talented Mr. Ripley (the movie) showed us of the coming of him, Ripley's Game indicated how he had blossomed into a seasoned sociopath. John Malkovich was at his sleek-slimy self & it's hard not to be enchanted by him. The setting was gorgeous and did I mention about the preusal of an actual Palladio villa in Italy? Ripley described himself nicely when he told Dougray Scott's dying character who was enticed to commit a murder(s) that it used to bother him that he didn't have a conscience but not anymore. To top that up, Ripley explained that one good thing about committing evil things were that after a few days, he wouldn't remember anything anymore. How Dougray Scott's character found attachment to the enigmatic Ripley was inexplicable but they did anyhow and formed a rather surreal alliance against the mobsters. The movie was moving along at an even pace and amid the calmness, there was always a tense or edginess to the environment. The relationship of Ripley and his live-in partner, an accomplished Italian harpischodist revealed a conditional relationship of the dominating and the dominated, no questions asked and rewards would come accordingly kind of a relationship. I guess this movie revealed to us that we all have a propensity to do something outlandish or totally evil. We are standing on a very fine line and all we need is a very minor catch to catch us off-guard. Outstanding cast all around but notably, Ray Winstone who played Ripley's ex-partner. Such a tasty movie to sit through. An edge-of-the-seat thriller that slowly unfolded itself but truly satisfying. Highly recommended.

"Ripley's Game" is the semi-sequel to Anthony Minghella's brilliant "The Talented Mr. Ripley." I want to say first and foremost, if you didn't like that film...Stay away from this one. Anyway, I call it a semi-sequel because there's no connection between either film besides the source novel by Patricia Highsmith. In Ripley's Game, Tom Ripley is much older now and living in Europe with a wife Louisa; But he's still up to his old tricks and he's still talented. The movie begins after Ripley has a disagreement with a man he's selling some drawings to; Ripley is dealing with a man named Reeves (Ray Winstone, 'Sexy Beast'), but what happens isn't even that important. Ripley makes it clear he doesn't want to see Reeves again which essentially sets the plot in motion. Three years later, Reeves returns and offers Ripley a large sum of money to kill a Russian guy. Ripley doesn't want to do it, however and suggests Jonathan Trevanny (Dougray Scott, 'The Legend of Zorro'). Jonathan barely knows Ripley and has no idea that Ripley has just suggested his name as a potential hit man, but when Reeves offers Jonathan the money...He eventually agrees, due in part to the fact he was just diagnosed with leukemia. This movie eventually becomes Jonathan's movie for the most part. Every event in the movie is basically guided by Ripley, but his screen time isn't what you would think it would be. This film, for the record, is not better than The Talented Mr. Ripley. It's not as beautifully photographed, nor as entertaining. But, John Malkovich is the definitive Tom Ripley. Don't get me wrong, Matt Damon was amazing as Ripley...He captured the many layers of Ripley's personality, being both charming and murderous. Malkovich does the same thing, but Malkovich has the icy cool stare and way of speaking that makes him the embodiment of Ripley. Malkovich just has this way of saying his dialouge, which I might add is great. There's some lines that a lot of actors couldn't do, Malkovich thrives on them. "Be careful with that watch, because if it breaks I'll kill every person on this train". But besides Malkovich; Scott, who I hated in Zorro, is surprisingly effective as Jonathan; Winstone is great as Reeves...The whole cast is great. The movie is entertaining; I think the train/death scene with Malkovich and Scott was very fun to watch. As I said, there's no relation between either film. There's not even a scene where Ripley reminisces...Despite that, looking at this as both a sequel and stand alone film it works.

GRADE: A-

Thomas Ripley has been a literary star for years, but got his big Hollywood break in 1999 as Matt Damon portraryed him in "The Talented Mr. Ripley," also starring Jude Law, Gwyneth Paltrow, and Phillip Seymour Hoffman. That film, which was the first in the "Ripley" series, showed how a young, vulnerable Tom Ripley launched his "career" as a murdering con artist. Matt Damon was phenomenal at capturing the desperation of the young criminal genius balancing on the razor's edge and coming to terms with his own dark side.

"Ripley's Game" takes on Tom Ripley at the twilight of his career, and John Malkovich is the perfect casting choice. No longer is Tom Ripley vulnerable, or wondering about exactly who he is. No stolen identies, no phony back-stories, Tom Ripley now lives openly and well as himself, having made his millions, restored a gorgeous villa in the Veneto, and charmed his way into the heart of a nubile harpsichord prodigy (Chiara Caselli). He's still an enigma to his neighbors, all of whom are aware of him but none know him.

A poor picture framer, Jonathan (Dougray Scott) makes the misfortune of giving voice to his envy of the rich American millioinaire at a party. Unaware that Ripley is standing behind him, Jonathan complains that Ripley has "restored the soul out of" his villa, and he's the worst kind of American - rich but with no taste. Ripley stars at him with those reptilian eyes, and you can see the wheels of vengeance turning even as Ripley accepts Jonathan's lame apology.

And what revenge! It is an open secret that Jonathan is relatively poor but also has terminal leukemia. Married to the gorgeous Sarah (Lena Headey) and father to a young tyke, Jonathan is furious at fate and desperate to provide for his family after he is gone. So Ripley offers up Jonathan to an oily former colleague, Reeves (Ray Winstone, of "Sexy Beast") who needs a hit man to off a rival. Dangling money and the prospect of the best health care money can buy, Reeves soon has Jonathan committing murder for hire.

All this is a set-up for when things get really interesting after the first murder and things, as things always do, spin out of control. Ripley has to step in to help the floundering Jonathan as the bodies continue to pile up. But what happens as Ripley begins to form an attachment with Jonathan even as he tears Jonathan's life apart?

Malkovich is one of our best actors, and Ripley is a perfect role for him. Nobody can out-do Malkovich when it comes to conveying dark meanings with a simple glance, turn of the head, or innocent question. Beyond droll, beyond laconical . . . Malkovich carves a niche standing among other people, but outside of them. Ripley stares at his enemies as he would an interesting insect, and he stares at his "friends" in much the same way.

A creepy, sexy, violent movie, "Ripley's Game" is not for the faint of heart. There is much less of the [...] undertone that disturbed so many in "The Talented Mr. Ripley," but that's not to say that Ripley has become any more traditional or comforting. He is an amazing, repellent character, and this movie is a wonderful vehicle for him.

Tom Ripley re-emerges once again after twenty years. His character has matured - he is a man of means and taste, living with a young and beautiful Italian harpsichordist in a lavish mansion, filled with classical art and tasteful objects -a man with a seething dark side, a willingness to remove anyone who would get in his way. There is a cold sophistication about this man, a man who on the surface, appears as if he has reached a stage in human development above the rest of us mortals. He reminds me of Hannibal Lecter - extremely intelligent, arrogant though displays a high level of refinement. One pierces this thin façade, however, and discovers not a man at all, but a monster.

John Malkovich as Tom Ripley was perfect casting. Malkovich seemed to have an uncanny insight into this character. There's no overacting, a melodramatic portrayal of a conscienceless killer, but a subtle performance, which captured the irony and restrained evil of such a man. What makes the character of Ripley so chilling is that sophisticated cold-bloodedness', the fact that he doesn't have a conscience, and has been aware of this deficit in his personality since childhood. The character actually mentions this fact in the film, and said that when he discovered this deficit in himself, it troubled him. But this is how he gets along in the world, and it works for him.

One of Ripley's old colleagues looks him up in Italy to settle a past debt. The man wants someone killed, and needs a person outside the game to do the deed to maintain a safe distance. A neighbour of Ripley's made the mistake of insulting him in front of a group of people. This man is dieing of leukaemia and would be the perfect "innocent" to do the crime. Ripley, in his usual seductive and manipulative manner, sets it in motion, turning a dieing family man into a potential killer. How can a `normal' man learn to live with himself after committing a murder for hire? Can a man lose his conscience over time after committing a series of abominable acts? As Ripley says in the film, "You know its funny, after doing a terrible thing, you tend to forget about it in a few days."

This film is a well-made thriller with a believable and compelling performance by John Malkovich. The first instalment "The Talented Mr. Ripley" was indeed a good film in its own right, but this one, to my mind, surpasses it, in terms of style and performance.

For some reason I've never been able to stand John Malkovich. He always imbues his characters with a stuffy, self-importance, and a kind of self-aggrandizement complete with an overblown plumy accent. So I approached Ripley's Game with hesitation; I just wasn't sure if I could even watch it. Well, the good news is that this film version - while admittedly looking more like a made for television movie - is far better than the previous Ripley outing, the tepid Talented Mr. Ripley that starred a "not quite right" Matt Damon.

For some reason, Ripley's Game never got the theatrical release in the US it deserved, although it did do good business in Europe. Admittingly, the film lacks the star wattage of its predecessor, but it certainly makes up for this by finally giving us a "real" Ripley, a Ripley that we can care about, and also an actor who seems to fit the part. Malkovich plays him as a snaky, smooth, elegant and charming middle-aged man, a Machiavellian character who is always in the background deviously pulling the strings.

You can rest assured that this Ripley can kill a man without a moment's hesitation and then stop to admire an expensive statue before making his getaway or even send his girlfriend a beautiful bouquet of red roses. It's not just that this Ripley is a talented murderer - he can also deftly manipulate the innocent and cleverly handle public insults at a party - walking away, of course, with the upper hand.

Having made a fortune ripping off fine art, Ripley is now living the high-life in a stylish Italian manor with a beautiful young pianist for a wife (Chiara Caselli). When Ripley's uncivilized former partner Reeves (Ray Winstone) arrives on the scene three years later and asks Ripley to help him carry out an assassination, Ripley suggests Jonathan Trevanny (a terrific Dougray Scott). Jonathan is a tortured soul who has just found out that he's dying of leukemia. He's also desperately in need of money to support his wife ... and young son.

Jonathan is an innocent, law-abiding sort of guy, and he's initially disgusted with the murderous proposition. But seducing innocent people is Ripley's specialty, so it is not long before Jonathan becomes entangled with an assortment of creepy individuals, including the Russian Mafioso. Obviously, we're disgusted by Ripley, and shocked at how he manages to act as the Devil toward Scott, offering him temptations he can't pass up and slyly looking on at the process of his conscience being eaten away.

The film's best and most exciting sequence is when Jonathan bumps into Ripley on a train and they are forced to use a garrote in the confines of the bathroom. Ripley is slick and smart, but maybe he has he met his nemesis in the uncouth and crude Reeves, who has made it perfectly obvious that he's out for blood. Can Ripley maintain his constant cool and get Jonathan out of the horrifying situation that he's landed himself in?

Italian director-co writer Liliana Cavani frames the story elegantly, making nice use of the settings in both Italy and Berlin, and coaxing understated, shrewd performances out of the cast, particularly Dougray Scott who gives one of his best performances. Although the initial set-up is a little slow, Cavani generally keeps the pacing tight throughout, instilling the proceedings with a gentle stream of black humour and sly wit. The beautiful European locations effortlessly draw us into the events efficiently dressing the action up as though it's art. Murder and mayhem constantly lurks beneath the smooth veneer of money and opulence, the good wine and the classical furniture.

Ripley's Game is certainly not a great movie, but it's one of the best of the series and it's certainly the most exciting. The film is perhaps the only one that has really managed to capture the malevolent psychologically of the complex central character, while also effectively recreating the almost Hitchcockian nature of Patricia Highsmith's original series of books. Mike Leonard August 05.