Word: evening
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Dates: during 1990-1999
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...really want you to see the movie The Talented Mr. Ripley. Even though I still haven't decided how I feel about the embellishments concocted by writer-director Anthony Minghella to update this compelling tale of 1950's class envy and blossoming psychosis. The outlines of the story are the same in both versions: Tom Ripley (Matt Damon), a poor, smart chameleon, comes to Italy under false pretenses and insinuates himself into the wealthy life of prodigal Dickie "Ouch!" Greenleaf (Jude Law). Dickie's not always as naughty as the name suggests, but sometimes he's far worse. Jude...
...role of Dickie Greenleaf lets Law be charming and cruel: he wears the part like a fine, sleek suit, just crumpled enough to seem lived-in. Even in one of those absurd '50s hats that wanna-beatniks had to sport, Law comes across as a little bit perfect, and a little bit vile. You can see why Tom gets all hot around the collar for Dickie's lifestyle, even if it comes with Gwyneth Paltrow as an accessory too sweetie-pie elegant for its own good. Of course, Mr. Ripley doesn't last too long as Dickie...
...have the wittiest opening credit sequence of the year. It's a not-so-subtle allusion to 1950's credits wiz Saul Bass, and the mere echo works wonders to situate the film within a specific time period, genre and tone. You can practically smell the Lucky Strikes. Even if you don't recognize the reference you'll appreciate the handiwork, and John Seale's meticulous cinematography consistently honors the old masters of that time...
...passages, which stick out like neon signs on a deserted highway. For the most part, Carmichael handles these passages with ease, resisting the temptation to be preachy and melodramatic. Carmichael crafts an exceptional portrayal of Roma, the clean-cut "nice guy" whose smooth-talking is so smooth that he even takes in the audience, leaving them all the more crushed at his final betrayal. Carmichael displays an impressive range of emotions that protect his character from stagnancy. He becomes, in one sense, a key figure of opportunist temptation in the play - a devil swathed in the borrowed robes of opportunity...
...maybe The Hurricane is a boxing movie. Or maybe, as this reviewer starts to note with some dread, it is something else altogether: a critique of the American judicial system even up to the 1990's, where the hand-in-hand complicity of police and the justice system prevents Carter's release from prison in order to cover up police corruption in New Jersey. With dizzying rapidity, Jewison now whips up righteous lawyers who passionately rail against the judicial system as well as shady police officers who threaten the three Canadians who decide to rally to Carter's cause...