Product Description

Mr. Ripley emerges from retirement to preside over one last deadly game, but can he persuade an innocent man to commit murder?

Product Details

• Amazon Sales Rank: #22824 in DVD
• Brand: MALKOVICH,JOHN
• Released on: 2004-03-30
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: AC-3, Anamorphic, Color, Dolby, DVD, Widescreen, Surround Sound, Digital Sound, DTS Surround Sound, NTSC
• Original language: English
• Subtitled in: Spanish, French
• Number of discs: 1
• Dimensions: 1.00 pounds
• Running time: 110 minutes

Amazon.com
The slippery protagonist of The Talented Mr. Ripley returns in another deadly guise in Ripley's Game, a well-appointed star vehicle. The star this time is John Malkovich, whose older Tom Ripley has settled into an Italian villa and a life of aesthetic contemplation (a little like Hannibal Lecter in Hannibal). A former partner (Ray Winstone) drags an innocent frame-maker (Dougray Scott), dying of leukemia, into the role of unexpected hit man. Ripley, for his own enigmatic reasons, helps. Liliana Cavani, of The Night Porter notoriety, directed this handsome if nebulous film (which has no connection to the Matt Damon picture, other than a Patricia Highsmith source novel). Malkovich exudes his usual oily disenchantment with the world; Lena Headey, like the location footage, is gorgeous. The same novel was adapted in very different style by Wim Wenders for his brilliant 1977 film, The American Friend, with Dennis Hopper and Bruno Ganz. --Robert Horton

Customer Reviews

Superb psychological thriller
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.

Fun and games among the sociopathic elite
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.

Murder amidst sophistication arttistically done
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.