| Photos (See all 48 | slideshow) |
| Matt Damon | ... | Tom Ripley | |
| Gwyneth Paltrow | ... | Marge Sherwood | |
| Jude Law | ... | Dickie Greenleaf | |
| Cate Blanchett | ... | Meredith Logue | |
| Philip Seymour Hoffman | ... | Freddie Miles | |
| Jack Davenport | ... | Peter Smith-Kingsley | |
| James Rebhorn | ... | Herbert Greenleaf | |
| Sergio Rubini | ... | Inspector Roverini | |
| Philip Baker Hall | ... | Alvin MacCarron | |
| Celia Weston | ... | Aunt Joan | |
| Fiorello | ... | Fausto (as Rosario Fiorello) | |
| Stefania Rocca | ... | Silvana | |
| Ivano Marescotti | ... | Colonnello Verrecchia | |
| Anna Longhi | ... | Signora Buffi | |
| Alessandro Fabrizi | ... | Sergeant Baggio | |
| Lisa Eichhorn | ... | Emily Greenleaf | |
| Gretchen Egolf | ... | Fran | |
| Jack Willis | ... | Greenleaf Chaffeur | |
| Frederick Alexander Bosche | ... | Fran's Boyfriend | |
| Dario Bergesio | ... | Police Officer | |
| Larry Kaplan | ... | Uncle Ted | |
| Claire Hardwick | ... | Gucci Assistant | |
| Antonio Prester | ... | American Express Clerk (as Nino Prester) | |
| Lorenzo Mancuso | ... | Bus Driver | |
| Onofrio Mancuso | ... | Priest | |
| Massimo Reale | ... | Immigration Officer | |
| Emanuele Carucci Viterbi | ... | American Express Clerk | |
| Caterina Deregibus | ... | Dahlia (as Caterina De Regibus) | |
| Silvana Bosi | ... | Ermelinda | |
| Gianfranco Barra | ... | Desk Manager Aldo | |
| Renato Scarpa | ... | Tailor | |
| Deirdre Lovejoy | ... | Fighting Neighbor | |
| Brian Tarantina | ... | Fighting Neighbor | |
| Guy Barker | ... | Trumpet (Napoli Jazz Septet) | |
| Bernardo Sassetti | ... | Piano (Napoli Jazz Septet) | |
| Perico Sambeat | ... | Alto Sax (Napoli Jazz Septet) | |
| Gene Calderazzo | ... | Drums (Napoli Jazz Septet) mer | |
| Joseph Lepore | ... | Double Bass (Napoli Jazz Septet) | |
| Rosario Giuliuni | ... | Tenor Sax (Napoli Jazz Septet) | |
| Eddy Palerno | ... | Electric Guitar (Napoli Jazz Septet) | |
| Byron Wallen | ... | Cornet (San Remo Jazz Sextet) | |
| Pete King | ... | Alto Sax (San Remo Jazz Sextet) | |
| Clark Tracey | ... | Drums (San Remo Jazz Sextet) | |
| Jean Toussaint | ... | Tenor Sax (San Remo Jazz Sextet) | |
| Geoff Gascoyne | ... | Bass (San Remo Jazz Sextet) | |
| Carlo Negroni | ... | Piano (San Remo Jazz Sextet) | |
| Beppe Fiorello | ... | Silvana's Fiancé | |
| Marco Quaglia | ... | Silvana's Brother | |
| Alessandra Vanzi | ... | Silvana's Mother | |
| Marco Rossi | ... | Photographer | |
| Roberto Valentini | ... | Onegin (Eugene Onegin Player) | |
| Francesco Bovino | ... | Lensky (Eugene Onegin Player) | |
| Stefano Canettieri | ... | Zaretsky (Eugene Onegin Player) | |
| Marco Foti | ... | Guillot (Eugene Onegin Player) | |
| Ludovica Tinghi | ... | Fausto's Fiancée | |
| Nicola Pannelli | ... | Dinelli's Cafe Waiter | |
| Paolo Calabresi | ... | Customs Officer | |
| Pietro Ragusa | ... | Record Store Owner | |
| Simone Empler | ... | Boy Singer | |
| Gianluca Secci | ... | Policeman | |
| Manuel Ruffini | ... | Policeman | |
| Pierpaolo Lovino | ... | Policeman | |
| Roberto Di Palma | ... | San Remo Hotel Desk Clerk | |
| rest of cast listed alphabetically: | |||
| Cesare Cremonini | ... | Boat Salesman (uncredited) | |
| Fabrizia Dal Farra | ... | Italian Girl (uncredited) | |
| Luca Foggiano | ... | Massimo (uncredited) | |
| Kent Gregory | ... | Dockworker #2 (uncredited) | |
| Frank Slaten | ... | Dockworker #1 (uncredited) | |
Directed by | |||
| Anthony Minghella | |||
Writing credits(WGA) | ||
| Patricia Highsmith | (novel) | |
| Anthony Minghella | (screenplay) | |
Produced by | |||
| Steve E. Andrews | .... | associate producer (as Steve Andrews) | |
| Lydia Dean Pilcher | .... | co-producer: New York | |
| William Horberg | .... | producer | |
| Sydney Pollack | .... | executive producer | |
| Tom Sternberg | .... | producer | |
| Alessandro von Norman | .... | line producer (as Alessandro Von Normann) | |
| Paul Zaentz | .... | co-producer | |
Original Music by | |||
| Gabriel Yared | |||
Cinematography by | |||
| John Seale | (director of photography) | ||
Film Editing by | |||
| Walter Murch | |||
Casting by | |||
| David Rubin | |||
Production Design by | |||
| Roy Walker | |||
Art Direction by | |||
| John Fenner | (supervising art director) | ||
| Stefano Maria Ortolani | (as Stefano Ortolani) | ||
Set Decoration by | |||
| Bruno Cesari | |||
Costume Design by | |||
| Gary Jones | |||
| Ann Roth | |||
Makeup Department | |||
| Michal Bigger | .... | key makeup artist: New York | |
| Elisabetta De Leonardis | .... | hair stylist | |
| Massimiliano Duranti | .... | assistant hair stylist | |
| Polly Earnshaw | .... | assistant makeup artist | |
| Tina Earnshaw | .... | supervising makeup artist | |
| Paola Genovese | .... | assistant hair stylist | |
| Kay Georgiou | .... | supervising hair stylist | |
| Giorgio Gregorini | .... | hair stylist | |
| Sian Grigg | .... | extras makeup artist | |
| Antonio Maltempo | .... | assistant makeup artist | |
| Paolo Mantini | .... | hair designer | |
| Lisa McDevitt | .... | assistant makeup artist | |
| Alessandra Sampaolo | .... | makeup artist | |
| Peggy Schierholz | .... | key hair stylist: New York (as Peg Schierholz) | |
| Fabrizio Sforza | .... | supervising makeup artist | |
| Katia Sisto | .... | assistant makeup artist | |
| James Sarzotti | .... | key makeup artist: New York (uncredited) | |
| Zoe Tahir | .... | dailies hair stylist (uncredited) | |
Production Management | |||
| Jan Foster | .... | unit production manager: New York | |
| Ruth Hasty | .... | post-production supervisor | |
| Lynn Kamern | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Steve E. Andrews | .... | first assistant director (as Steve Andrews) | |
| Gianni Arduini | .... | first assistant director: Italy | |
| Vebe Borge | .... | first assistant director: New York | |
| Federica Ciciarelli | .... | third assistant director: Italy | |
| Maria De Leo | .... | third assistant director: Italy | |
| Filippo Fassetta | .... | third assistant director: Italy | |
| Amy Lynn | .... | second assistant director: New York | |
| Enrico Marrari | .... | second assistant director: Italy (as Andrea Marrari) | |
| Emma Schofield | .... | second assistant director | |
| Bernardo Galli | .... | dailies assistant director (uncredited) | |
| Dominick Scarola | .... | dga trainee (uncredited) | |
Sound Department | |||
| Don Banks | .... | boom operator | |
| Phil Benson | .... | digital editing system coordinator | |
| Mark Berger | .... | sound re-recording mixer | |
| Ben Conrad | .... | foley mixer | |
| Eric Dachs | .... | apprentice sound editor (as Eric B. Dachs) | |
| Adriano Di Lorenzo | .... | cable person | |
| Malcolm Fife | .... | foley editor | |
| Steve Fontano | .... | assistant foley mixer | |
| Aura Gilge | .... | assistant sound effects editor (as Aura Belle Gilge) | |
| Dan Gleich | .... | sound effects recordist | |
| Pat Jackson | .... | supervising sound editor | |
| Mark Levinson | .... | adr supervisor (as Mark A. Levinson) | |
| Kyrsten Mate | .... | sound effects editor (as Kyrsten Mate Comoglio) | |
| Barbara McBane | .... | dialogue editor | |
| Danny Michael | .... | sound mixer: New York | |
| Jeremy Molod | .... | assistant adr editor | |
| Marnie Moore | .... | foley artist | |
| Walter Murch | .... | sound re-recording mixer | |
| Margie O'Malley | .... | foley artist | |
| David Parker | .... | sound re-recording mixer | |
| Jim Pasque | .... | assistant foley mixer | |
| Richard Quinn | .... | adr editor | |
| Larry Schalit | .... | first assistant sound editor | |
| Ivan Sharrock | .... | sound mixer | |
| Dianna Stirpe | .... | dialogue editor | |
| Jennifer L. Ware | .... | sound effects editor | |
| Mary Works | .... | assistant dialogue editor | |
| Frank Canonica | .... | supervising sound recordist: mix stage (uncredited) | |
| Adriano Di Lorenzo | .... | second boom operator (uncredited) | |
| Phil Hadaway | .... | adr engineer (uncredited) | |
| Adam Zaentz | .... | special sound effects creator (uncredited) | |
Special Effects by | |||
| J.C. Brotherhood | .... | special effects supervisor: New York | |
| Richard Conway | .... | special effects supervisor | |
| Sam Conway | .... | special effects coordinator | |
| Giancarlo Mancini | .... | special effects coordinator | |
| Fabrizio Sforza | .... | special effects makeup artist | |
Visual Effects by | |||
| Ales Dlabac | .... | Inferno operator: UPP | |
| Nick Drew | .... | visual effects: Jim Henson's Creature Shop | |
| Sam Hincher | .... | Inferno operator: Golden Square Post Production Ltd. (as Sam Hencher) | |
| Harry Jarman | .... | Inferno operator: Golden Square Post Production Ltd. | |
| Petr Komrzy | .... | visual effects coordinator: UPP | |
| Vít Komrzý | .... | visual effects coordinator: UPP | |
| Dennis Lowe | .... | visual effects supervisor | |
| Viktor Muller | .... | Inferno operator: UPP | |
| Daniel Napier | .... | technical supervisor: Golden Square Post Production Ltd. | |
| Jiri Stamfest | .... | matte artist: digital painter | |
| Michael Turoff | .... | visual effects: Jim Henson's Creature Shop | |
| David Vána | .... | Inferno operator: UPP (as David Vana) | |
| Val Wardlaw | .... | visual effects supervisor: Jim Henson's Creature Shop | |
| Carole Cowley | .... | visual effects producer (uncredited) | |
| Sean Danischevsky | .... | digital compositor: Jim Henson's Creature Shop (uncredited) | |
| Vincent Lavares | .... | digital asset manager (uncredited) | |
| Clare Norman | .... | scanning and recording editorial coordinator (uncredited) | |
Stunts | |||
| David Ambrosi | .... | stunts (as Davide Ambrosi) | |
| Stefano Maria Mioni | .... | stunts (as Stefano Mioni) | |
| Claudio Pacifico | .... | stunt double | |
| Alessandro Ponti | .... | stunts (as Alessandro Ponte) | |
| Franco Maria Salamon | .... | stunt coordinator (as Franco Salamon) | |
| Massimiliano Bianchi | .... | stunt rigger (uncredited) | |
Casting Department | |||
| Sarah Beardsall | .... | casting: UK | |
| Sylvia Fay | .... | extras casting: New York (as Sylvia Faye) | |
| Sondra James | .... | casting: loop group | |
| Ronna Kress | .... | casting associate | |
| Shaila Rubin | .... | casting: Italy | |
| Miura Smith | .... | casting assistant | |
| Jennifer Ricchiazzi | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Alfredo Bocci | .... | wardrobe master | |
| Anne Brault | .... | wardrobe supervisor | |
| Roberto De Luca | .... | wardrobe runner | |
| Raffaella Fantasia | .... | costume shopper | |
| Serena Fiumi | .... | stand-by wardrobe | |
| Gabriella Generosi | .... | seamstress | |
| Giampiero Grassi | .... | tailor | |
| Hannah Green | .... | wardrobe researcher | |
| Iris Horta Lemos | .... | key costumer | |
| Carmelina Manduca | .... | seamstress (as Carmela Manduca) | |
| Adriana Mattiozzi | .... | seamstress | |
| Chiara Nobile | .... | stand-by wardrobe | |
| Shizuko Omachi | .... | stand-by wardrobe (as Shizudo Omachi) | |
| Enzo Serafino Pellegrino | .... | head ager and dyer (as Serafino Pellegrino) | |
| Vittorio Peroni | .... | wardrobe labourer | |
| Carlo Poggioli | .... | associate costume designer: Italy | |
| Franca Rotondo | .... | seamstress | |
| Aldo Urzini | .... | wardrobe labourer | |
| Mickey Carleton | .... | costumer (uncredited) | |
| Amy Roth | .... | costume coordinator (uncredited) | |
Editorial Department | |||
| Robbie Broughton | .... | second assistant editor: London | |
| Daniel Farrell | .... | first assistant film editor: London | |
| Ruth Hasty | .... | first assistant film editor: Berkeley | |
| Dana L. Marker | .... | negative cutter | |
| Dennis McNeill | .... | color timer (as Denny McNeill) | |
| Dana Mulligan | .... | first assistant editor | |
| Walter Slater Murch | .... | apprentice editor: Berkeley | |
| Tasha Pym | .... | first assistant film editor: London | |
| Franca Silvi | .... | first assistant editor: Rome | |
| David Suther | .... | second assistant editor: Berkeley | |
| Linda Taylor | .... | apprentice editor: Rome | |
| Eric Rigney | .... | avid technician (uncredited) | |
Music Department | |||
| Robin Aspland | .... | musician: piano, San Remo Jazz Festival | |
| Guy Barker | .... | musician: trumpet, San Remo Jazz Festival | |
| Alan Barnes | .... | musician: tenor sax, Napoli Jazz Club | |
| John Bell | .... | orchestrator | |
| Andy Brown | .... | source music contractor: London Metropolitan Orchestra | |
| Marcia Crayford | .... | orchestra leader | |
| Chris Dibble | .... | source music recordist | |
| Iain Dixon | .... | musician: tenor sax, San Remo Jazz Festival | |
| Geoff Gascoyne | .... | musician: double bass, Napoli Jazz Club | |
| Isobel Griffiths | .... | orchestra contractor | |
| Allan Jenkins | .... | music programmer | |
| Paul Keogh | .... | musician: electric guitar, Napoli Jazz Club | |
| Ling Ling Li | .... | assistant music editor | |
| Metro Voices | .... | choir | |
| Anthony Minghella | .... | music producer: songs | |
| Anthony Minghella | .... | score producer | |
| Walter Murch | .... | score producer | |
| Münchener Bach-Orchester | .... | orchestra | |
| Harry Rabinowitz | .... | conductor | |
| Robert Randles | .... | music editor | |
| John Richards | .... | score mixer | |
| John Richards | .... | score recordist | |
| Liz Schrek | .... | music production coordinator | |
| Tommy Smith | .... | musician: soprano sax solos | |
| Sofia Festival Orchestra | .... | orchestra | |
| Arne Somogyi | .... | musician: double bass, San Remo Jazz Festival | |
| Jamie Talbot | .... | musician: alto sax, Napoli Jazz Club | |
| Graham Walker | .... | music supervisor | |
| Kirsty Whalley | .... | music programmer | |
| Paul Willey | .... | orchestra leader | |
| Gabriel Yared | .... | orchestrator | |
| Gabriel Yared | .... | score producer | |
| Stephen Coleman | .... | music copyist (uncredited) | |
| Paul Golding | .... | music recording engineer (End titles vocals) (uncredited) | |
| Mark Tucker | .... | assistant scoring engineer (uncredited) | |
Transportation Department | |||
| Silvano Broglia | .... | driver: Mr. Minghella | |
| Fratelli Cartocci | .... | picture vehicles | |
| Francesca Cingolani | .... | transportation coordinator | |
| Dino Colasanti | .... | driver: Ms. Paltrow | |
| Mauro Dalla Costa | .... | driver: Mr. Horberg | |
| Steven R. Hammond | .... | transportation captain: New York (as Steve Hammond) | |
| Maurizio Maggi | .... | picture vehicle coordinator | |
| Massimo Spescha | .... | driver: Mr. Sternberg | |
| Gianni Tarquini | .... | driver: Mr. Damon | |
| Paolo Rosada | .... | transportation coordinator: Venice (uncredited) | |
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| Torso | So Sweet, So Dead | The Cat o' Nine Tails | Twitch of the Death Nerve | The Bird with the Crystal Plumage |
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| Full cast and crew | Company credits | External reviews |
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I'd have to say The_Void really sums up on how amazing this film is and because I find his library of reviews so helpful, I will link them now: http://www.imdb.com/user/ur2248099/comments?order=date&start=0 His review should definitely take precedence over all other Reviews for this film (and probably a lot more). I write this review for the chance that if someone liked one of my opinions, they'd come and see what I thought of this masterpiece.
I can't remember that last time I felt my heart jerked like this in some time. Well that is a lie, I do remember. The last time would have had to of been when I saw: Match Point. So let's get the 'if you liked/hated' bust out of the way and say if you liked Woody Allen's Match Point, I can't see why you wouldn't ultimately like this. Not that they're AT ALL the same, nor do I have some sort of expertise on the matter. I just know the rare feeling Match Point gave me is the same this movie gave me. It sets so many moods and it does it with such finesse you find yourself begging for more and more in a devilish fashion you'll catch yourself many times wondering why you're rooting for Mr. Ripley.
The movie is only 2 hours and 20 minutes or there abouts. But it feels like a lifetime. Not the sort of lifetime when you're waiting in the DMV. The sort of life time where you experience, learn, and think about through your life. Not to say this film is a learning experience. But it IS an experience and it will fill a hole in your film-going life for that thick-plot, character ran, and dark trenching void you may have. I can't think of a film that quite compares in sequence of events, twists, character development, character inclusion quite like this.
Every character is important, every event is important, and everything you think is pretty null and void. Or possibly that is just me.
It should be heavily noted that this film STARTS SLOW, as many have said and probably judged it that way. I'd say it picks up speed around the 15-20 minute mark and it roller coasters from there. And let me tell you, when it accelerates, it seriously doesn't know how to stop and personally, I never wanted it to stop. This is the sort of film where not even the most annoying person can scream at the film, because you're too tight lipped about everything going on and you'll most likely find yourself wanting Ripley to keep going. And when I say Ripley, I really mean the movie.
And the movie doesn't stop, it keeps going. Even after it's over, you will be doing a mental tango of all the information you have received and trying to sort out all the pieces. And trust me, there are pieces. If you go to watch this film to just watch a 90's flick, you're doing it wrong. You will probably find the movie a flop of just dark moments led by lies and deceit. (Which it really is). But to those who went to watch this film because we wanted to know why there was so much mixed hype about this 1999 film, we should have all noticed there were the smallest bits of puzzle pieces and the biggest amounts of twists that really made this film what it is.
I don't even like Matt Damon, I personally have a biased grudged towards the guy and his movies. But I'd have to say, it's tough to choose between his performances here and Good Will Hunting. He, along with the entire cast will tug at heart strings you never thought you had. There are the strings for romance, thrillers, and horror. These strings are the one's collecting dust and sometimes never see the light of day for a life time. It's rare to come across a film that seems to have everything and goes about it like it's nothing, like it doesn't even seem to care if you're watching or not, because it all is going to happen with or without you. It's truly it's own living, breathing, and dark entity.
Watch this film if you want a film that will bake in your brain for the days, weeks, maybe months to come. It's not to late to bring this movie back up into lunch-time conversation in the new century.