Perhaps the best of the many Ridleys, with an unusually sober Dennis Hopper playing Tom Ripley and the magnificent Bruno Ganz as his foil, Zimmerman. The plot is occasionally a muddle, but is backgrounded by some beautiful cinematography, esp. a Paris metro station of blue and red (similar to the Conformist) and a fantastic sequence on a speeding train. Wim's debt to film noir shows in his casting of Ray and Fuller.
"Meh" Unfortunately, didn't enjoy this too much. Loved the first half and initial mood, but it just got more and more convoluted and silly as it advanced. Didn't enjoy the direction it took once Hopper's character became more involved. And the different topics it brings up get lost along the way. Bruno Ganz really shines though. What a truly great actor he was, he will be dearly missed.
Every frame of this film is like a painting. The sinking feeling of following the beautiful Zimmerman in his role of the desperate innocent being bribed down an irreversibly dark path is heartbreaking. The chemistry of Dennis Hopper and Bruno Ganz is so interesting to watch and I probably won't get over the chaos of the final sequence for a while. Definitely worth a watch, though not a film likely to cheer you up.
This is the second time I watched Wim Wenders' movie. THE AMERICAN FRIEND is a unique adaptation of Patricia Highsmith's famous character's - Tom Ripley. Somehow, I feel there's something different with this adaptation. I think Dennis Hopper didn't convicing enough as Tom Ripley. But, Hopper still showed us a good interpretation of the character. He has his own charisma. Bruno Ganz is also amazing in this movie...
Great neo-noir film from Win Wenders. Dennis Hopper plays a nasty, sleazy Tom Ripley and Bruno Ganz is spectacular as the frame maker who gets caught up in some murderous dealings he eventually can't get out of because of Ripley. Especially enjoyed seeing directors Nicholas Ray and Samuel Fuller in bit parts.
Esquizoide, terriblemente sórdida en la composición de sus personajes, en especial Ripley, o mejor, Hopper; un villano incomprensible y casi al borde de la locura. Por otra parte, el ritmo vertiginoso, a mi parecer, dota a la película de una atmósfera aún más extraña. La secuencia del metro es una reminiscencia de dos maestros: Melville y Bresson. Cineastas de la mirada, del silencio, del gesto puro.
Digital restoration, rewatched. Ganz, Hopper. Kreuzer, Fuller, Nicholas Ray, Eustache, Gérard Blain, Schmid, Castel, Müller, Patricia Highsmith, Hitchcock and trains, North- American novel, film noir, thriller, European contemplative new-cinema, deconstruction. There was a time when Wenders knew how to orchestrate so much diverse great components to a fascinating concrete unity.