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"The Talented Mr. Ripley" Question

Does anyone know the name of the original french film that the movie" The Talented Mr. Ripley" was based on. I am getting married in a few weeks and want to give it to my bride as a gift as, it is the movie we went to see on our first date.

David

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By guest (Guest Post)
April 28, 20050 found this helpful

The Internet Movie Database is a great place to find answers to questions like this. <http://www.imdb.com/>

The movie "The Talented Mr. Ripley" is based on a book by Patricia Highsmith of the same name. She also wrote "Strangers on a Train" and several other Ripley books.

But, the movie you're looking for is probably "Purple Noon" or "Plein Soleil" from 1960. This French movie was based on the same book as the more recent film. <http://us.imdb.  e/tt0054189/>

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April 30, 20050 found this helpful

David, I don't know if this will help you or not.

"I feel like I've been handed a new life," says Tom Ripley at a crucial turning point of this well-cast, stylishly crafted psychological thriller. And indeed he has, because the devious, impoverished Ripley (played with subtle depth by Matt Damon) has just traded his own identity for that of Dickie Greenleaf (Jude Law), the playboy heir to a shipping fortune who has become Ripley's model for a life worth living. Having been sent by Dickie's father to retrieve the errant son from Italy, Ripley has smoothly ingratiated himself with Dickey and his lovely, unsuspecting fiancée, Marge (Gwyneth Paltrow). In due course, the sheer evil of Ripley's amoral scheme will be revealed.

Superbly adapted from the acclaimed novel by Patricia Highsmith (also the basis of the acclaimed French version, Purple Noon), The Talented Mr. Ripley is writer-director Anthony Minghella's impressive follow-up to his Oscar-winning triumph The English Patient. Re-creating late-1950s Italy in exacting detail, the film captures the sensuousness of la dolce vita while suspensefully developing the fracturing of Ripley's mind as his crimes grow increasingly desperate. And where Hitchcock was necessarily discreet with the homosexual subtext of Highsmith's Strangers on a Train, Minghella brings it out of the closet, increasing the dramatic tension and complexity of Ripley's psychological breakdown. Phillip Seymour Hoffman and Cate Blanchett are excellent in pivotal supporting roles, and the film's final image is utterly effective: Ripley's talents have gone too far, and this study of class distinction, obsession, and deadly desire reaches a disturbing yet richly appropriate conclusion. Bonnie

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