RIPLEY'S GAME

UK/Italy, 2002, 110 minutes, Colour.
John Malkovich, Dougray Scott, Ray Winstone, Lena Headey, Chiara Caselli.
Directed by Liliana Cavani.

If you want to see an intriguing, finely written and crafted psychological thriller, you could do no better than to try
Ripley's Game.

This is the third version of Patricia Highsmith's novel (one of six with her amoral character, Tom Ripley). Rene Clement filmed it in 1961 as Plein Soleil (aka Full Sun or Purple Noon) and by Wim Wenders in 1977 as The American Friend. Contemporary audiences who have seen Matt Damon as The Talented Mr Ripley, where the character was in his twenties, will be wondering how well these two films fit together. They do.

John Malkovich is now the middle-aged Tom Ripley and if there is anyone on screen who can suggest evil just by a glance or a raised eyebrow, it is John Malkovich. His Ripley has now settled into an amoral way of life, supremely confident in himself, in his skills and in his reading of others. He sells art forgeries while enjoying a luxurious life in a Northern Italian villa. But, into this calm come two disturbances. He overhears an insult from an English neighbour (Dougray Scott). An accomplice from his past, a boorish Londoner (Ray Winstone), appeals to him for help in eliminating Russian competition from his wheeler dealings in Berlin. Ripley ingeniously combines the two challenges and alters the life and integrity of the young Englishman. And then what happens to each of the protagonists and the Englishman's wife (Lena Heady).

The plotting of the narrative is excellent and Italian director, Liliana Cavani, shows she can still tell a cinema
story engrossingly. With fine performances, attractive locations and a continual challenge to our moral stances as we watch, sometimes with growing disbelief that people can so change, what the characters are prepared to do. This is fine adult entertainment.

1. The work of Patricia Highsmith? The character of Ripley? In her literature? In the cinema, The Talented Mr Ripley?

2. The film as a crime thriller, psychological thriller? The credibility of the character, the plot developments?

3. The Paris opening, the glimpses of Paris, the contrast with the Italian villa and the town, Berlin and Dusseldorf? The beauty of the landscapes and their contribution to the context for Ripley? Ennio Morricone's score?

4. The title and the focus on games, Ripley's whims, motives, abilities, spontaneity, adaptability, creativity? Yet destructive games?

5. Tom Ripley in middle age, the suave and complex criminal, his culture, art and taste? The art forgeries and his dealings? The relationship with Reeves and despising him? His clients, the discussion of money, the assistant touching the etchings, his killing him? Conscienceless and his elaborate explanations of his own moral and amoral stances? His being consulted by Jonathan, reading his character, setting him up, changing his mind, helping Jonathan? Buying the harpsichord for the young woman, his delight in it, her playing it? His relationship with Sarah, not expecting any thanks for helping her and giving her the money? John Malkovich's performance, his ability to communicate conscienceless characters, evil? The skill of a look, a gesture for audiences to make moral judgment?

6. The prologue, his work with Reeves, Ray Winston's criminal style, crass and ignorant, the phone deals? Ripley wanting to dissociate himself, giving him the money? Ripley and art, the forgeries, the dealer, the money, the refusal, bashing the assistant, the gun, taking all the money - with no feeling at all?

7. His life in Italy, buying the harpsichord, wanting it prepared in 13 days, greeting Jonathan in the car on the road, Ripley's home and its beauty, the best crook in the Veneto? His girlfriend, the relationship with her, playing the harpsichord with her, buying the new one? The sexual relationship, Ripley's sexual orientations? The discussion about marriage? Her knowing himself and his career? His promising to be at the concert, ordering the flowers, his finally being there, smiling, approval?

8. Going to Jonathan's party, hearing the insult about his taste, the effect on him? Reeves and his wanting help to eliminate criminals in Berlin, Ripley's suggestion of Jonathan,

9. The character of Reeves, ignorant, shrewd gangster dealer? The money from Ripley, setting up in Berlin, the Russians and the Ukrainians, his wanting to eliminate the competition, coming to see Ripley? Ripley not allowing him in? Ripley suggesting Jonathan, Reeves and the meeting with Jonathan in the restaurant, the phone calls, the increased pressure? His details for Jonathan to do the killings? The gangsters pursuing him in Berlin, shooting the man in the bedroom, Reeves fleeing to Italy, Tom continuing to refuse him contact? Thinking that he was in South America, plastic surgery - his finishing up in the trunk of the car?

10. Jonathan and Sarah, the English couple in Italy, his working as a picture framer? Their son? The birthday party, his arrogance about Tom's taste, Ripley challenging him, repeating the word 'meaning'? Jonathan's illness and terminal? The encounter with Reeves in the shop, going to the hotel, his immediate reaction and rejection? His love for Sarah, sexual failure? The pressures by Reeves about his child, the money, doubling the fee? The promise of the consultation with the doctor in Berlin? Jonathan going, the tests, no further progress? Reeves' description of the Russian, going to the zoo, the children rushing in with the teachers, the easiness of killing the Russian? Jonathan going home and hiding the money?

11. The second contact, his refusal, Reeves and the pressure, the car breaking down and the need for a new one, the clashes with Sarah and his deceiving her? His going to Germany, the garrotte, going to the toilet, the master key, finding Ripley? The three deaths and the violence and brutality of the struggles? Arriving at Dusseldorf, the police, their going home, Sarah seeing him, her anger, demands about the money?

12. The survival of one of the henchmen, the pursuit of Reeves and the shooting, Tom knowing they would come, setting the traps in the house, testing them on the bread loaves? Jonathan coming, hiding with him? Ripley waiting, the set-up, the binoculars, seeing the men, Jonathan going outside and almost being killed? The men caught by the traps, the beating? The man in the trap giving the information, phoning and saying that they were the wrong people, his still being shot? Sarah's sudden arrival and her disgust? Jonathan going home, finding the other criminals with Sarah? Ripley and seeing the car, returning, shooting the gangsters, Jonathan saving his life by going in front of him? Sarah's shock, Ripley explaining what she should say to the police, giving her the money? His comment about no thanks?

13. The moral issues of the film, for Jonathan, saving his family, his death, his destructive choices?

14. Ripley and the ending, the completely amoral tone, enjoying the concert?

15. The story as a moral fable of evil, joy and evil, crime and destruction?