Most Helpful Customer Reviews
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34 of 35 people found the following review helpful:
5.0 out of 5 stars
Pleasurable soundtrack of substance, March 15, 2000
This is the soundtrack for Anthony Minghella's scenically dazzling psycho-thriller "The Talented Mr. Ripley". As music, and in particular jazz, plays an important part in the film, it is not surprising that jazz tracks are the dominant feature of this CD, and these include fine contributions from the Guy Barker International Quintet, Charlie Parker, Miles Davies, Dizzy Gillespie etc. There is also a sultry Italian song "Guaglione" performed with considerable charm by Marino Marini and a mesmerising rendition of "You Don't Know What Love Is" by John Martyn. One big surprise is Matt Damon's singing of "My Funny Valentine". Although his vocals may not be of top quality, his performance, which eerily resembles that of Chet Baker, can certainly make those who have seen the film recall the fateful encounter of Tom Ripley and Dickie Greenleaf and the psychological tension that lurks beneath their relationship. Besides the solo, Damon also teams up with Jude Law and Fiorello for an ebullient "Tu Vuo' Fa L'Americano". In addition to the jazz offerings, there is also a short but beautiful extract from Vivaldi's Stabat Mater. Other than these, there are 8 tracks specifically composed by Gabriel Yared and Anthony Minghella for the film, all of them are of good quality and are atmospherically evocative. Besides "Italia", which evokes the serenity in the sun-bathed Mediterranean coast and the languidly sensuous "Promise", most of these newly composed music are developed basically from 2 contrasting themes. One of them (used in "Crazy Tom" and "Ripley") conjures up an atmosphere of suspense, tension and agitation while the other (used in "Proust" and "Syncopes") is simple, intimate (such effect being highlighted by the use of vibraphone) yet hauntingly melancholic and which is further developed into a song entitled "Lullaby for Cain", performed here by Sinead O'Connor. All in all, this CD contains a wonderful mix of jazz, classical and film music and will certainly make pleasurable listening even when divorced from the screen images. It may even serve to introduce people who are interested in the film to the world of jazz. As such, it can be recommended with enthusiasm.
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35 of 37 people found the following review helpful:
5.0 out of 5 stars
Outstanding!, March 1, 2000
A perfect mix of italian songs, jazz and instrumental music, this soundtrack really evokes the film, recreating its characters, mood and atmosphere. If you liked the movie, listening to the CD will bring you back to the movie theater!The CD begins with "Tu Vuo' Fa L'Americano" (my favorite), a napolitan song from the 50's, which embodies Dickie Greeleaf's joyous and carefree lifestyle, a nice counterpart to "Lullaby for Cain", by Gabriel Yared and Anthony Minghella, a song that both opens and represents the tragic story of a man without an identity, driven to kill the object of his affection. Like the movie, Yared's score for "The Talented Mr. Ripley" beats its precedent, Nino Rota's music for the french film "Purple Noon". The score's best track, "Crazy Tom", with involving string music (the comparison to Herrmann's work in "Psycho" is unavoidable) and mediterranean tunes, perfectly functions as Ripley's theme. "Italia" and "Mischief" are also great. Last, even those who are not jazz lovers, like myself, will enjoy the tracks performed by the Guy Barker International Quintet. Matt Damon is also a good surprise singing "My Funny Valentine". My only complaint about this otherwise perfect soundtrack is the absence of the Mozart (?) piano sonata played by Ripley through the movie.
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22 of 22 people found the following review helpful:
5.0 out of 5 stars
Will win awards this year for sure, December 26, 1999
I must agree with Mr. Walker's review below in that I believe that the 'Talented Mr. Ripley' will be the score to beat in this year's awards competitions. Here are just a few reasons why:1) This is a wonderful mixture of sounds that complement each other: contemporary song, great jazz (including 50's greats Dizzy Gillespie and Charlie Parker), atmospheric mood music, and a dash of Renaissance classical 'Stabat Mater.' Even the Chet Baker-ish 'My Funny Valentine' gives the audience a familiar tune at the beginning, a song, as Mr. Minghella has said, that 'contains lyrics that say the romantic words someone would want to say, but would be too corny in anything but a song.' It captures the 50's setting of jazz and romance -- and a bit of irony in the very title itself -- allowing Minghella to substitute music for Highsmith's 'art society' in the original book. 2) The instrumental dark passages, particularly 'Crazy Tom,' 'Mischief,' and 'Ripley' are very much in the Bernard Herrman vein with their underscore of glissandos, staccato strings, and haunting refrains. The use of unusual instrument combinations is particularly striking, ranging from full Hermannesque mini-symphonies for strings a la 'Psycho', to a strange, beautiful duet for xylophone and something that sounds like a digeridoo. Beautiful! And for sheer creepiness, check out the 'music box' celeste on the cue, 'Proust,' with its use of flats that explore the subconscious. 3) The original songs are truly original, and as much as Yared did for Alainis Morrisette in his top-selling score for 'City of Angels,' here for his title sequence, he has created 'Lullaby for Cain,' perfect for the moody Sinead O'Connor's saintly and somewhat demented-child voice (see her as the Virgin Mary in 'The Butcher Boy' and you'll see what I mean). Darker yet, and easily overlooked, is the brilliant last song 'You Don't Know What Love Is' sung by John Martyn (a dead ringer for Louis Armstrong -- perfect in a film about dopplegangers), which thematically ties the film together, yet stands alone as a great sexy jazz ballad all its own (apparently written initially for an old Abbot and Costello comedy!). 4) Last, great liner notes from the director himself, Anthony Minghella, that pay homage not to his work as a great director, but homage to a great composer, Gabriel Yared, complete with thorough explanations of almost every cue in the film. Would that there were more good liner note writers today who could show how visual and audial components go together artistically. In a year of few soundtrack standouts (with the exception of John Corigliano's brilliant 'Red Violin' and large portions of John William's 'Phantom Menace'), Yared's music for 'The Talented Mr. Ripley' is sheer perfection, and a wonderful soundtrack album that is just as beautiful to listen to apart from the film as with the film. This is one album that truly gives you your money's worth.
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~ Gabriel Yared
~ Diana Krall
~ Renato Carosone
by Patricia Highsmith
~ Dario Marianelli
is quite Cool Jazz”
