#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Tom Ripley has a sweet deal with an art forger. The forger creates the paintings; Tom sells them. But another criminal business associate wants Tom to go in for an even riskier enterprise: murder. Tom suggests his associate ask a local picture framer instead. That man has a fatal disease, or so it’s rumored. More, he has a wife and kid that surely he wouldn’t want to leave penniless. Let this picture framer be a hit man, and no one will suspect. The terminally ill craftsman may agree to the misdeed, and several more, but he’ll end up needing Tom Ripley in a pinch.
Plot: Tom Ripley, who deals in forged art, suggests a picture framer he knows would make a good hit man.
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Wenders’ wonder. Don’t overlook this one!
Wim Wenders’ movies are really a matter of taste. His detractors find his movies to be painfully slow, drawn out, pretentious affairs. Even I can admit to finding the prospect of sitting through some of his movies (particularly ‘Until the End of the World’ and ‘Faraway, So Close!’) almost unbearable. But when Wenders is on form he is hard to beat for mysterious, multi-layered, genuinely haunting movies.
Some people regard ‘The American Friend’ as a total bore, but I found it to be anything but, and almost equal to his masterpieces ‘Paris, Texas’ and ‘Wings Of Desire’. Sure it is slow, and bound to frustrate those with MTV-type attention spans, but bear with it, and you will be rewarded.
Bruno Ganz is first rate as the picture-framer turned reluctant hitman, and Dennis Hopper, who is often ridiculed for his over the top self parodic “crazy guy” roles, is quietly impressive as the enigmatic, almost poetic Ripley. Compare his performance (and this movie as a whole) with Matt Damon’s obvious turn in the more recent ‘The Talented Mr. Ripley’. It speaks volumes for how much less subtle and intelligent most contemporary movies have become.
Turning An Innocent Man Into A Murderer
“What’s wrong with a cowboy in Hamburg?” asks Dennis Hopper at the beginning of the movie, wearing a Stetson like he just entered the wrong picture. For viewers used to the suave, sophisticated Tom Ripley played by Matt Damon and John Malkovich, Dennis Hopper’s version will look like an abomination – unapologetically American, full of American speech mannerisms, slightly crazy and more than once acting like he’s hopped on drugs. But that’s the beauty of the movie, a beauty unique to the ’70s, when American actors collaborated with European filmmakers, when different influences merged to create something unique.
Based on a novel by Patricia Highsmith, the movie follows Tom Ripley, bon vivant, art dealer and occasional murderer. Enjoying success selling fake pictures of a popular but dead artist, one day he meets a picture-framer, Jonathan (Bruno Ganz), who displeases him. His mistake? To say ‘I’ve heard of you’ in a disdainful manner and refusing to shake hands with Ripley.
Jonathan is dying from a blood disease and has more on his mind than social niceties. He has medical bills to pay and he’s worried about the future of his son and wife (Lisa Kreuzer) after he passes away. So he becomes the perfect person for Ripley to turn into a murderer when a criminal friend (Gérard Blain) asks him to find someone to kill a rival for money. Quickly the movie enters fertile territory that lets Wenders explore questions about personal responsibility, duplicity, and the nature of evil.
Although Tom Ripley usually has the spotlight in his movies, here the main character is Jonathan. Bruno Ganz plays this everyman with compassion for his predicament and also with a feeling of being trapped between accepting his fate and enjoying the freedom to become a murder it grants him. Quite fascinating are the scenes with his family, which become increasingly darker, going from idyllic to nightmarish as his secret life distances him from his wife.
Dennis Hopper gives a great performance too as Jonathan’s amoral friend who plays with his life like a child with putty, manipulating it for no good reason other than personal gratification. Unconcerned with what he has done to him, he only intervenes to help him when Jonathan’s problems become his own. That’s Tom Ripley: elegant and nice on the outside, empty on the inside, collector of art but hardly a sensitive man, owner of a beautiful neoclassic mansion filled with objects wrapped in plastic. Once the movie ends the viewer is left wondering which of the two is the greatest fake.
Although these two actors would make the movie worth watching just for their performances, Wenders nevertheless crafted a tense, suspenseful thriller that stands on its own. Mixing cinematography reminiscent of American noir cinema with the slow pacing of ’70s thrillers, this is mostly a visual experience in which sequences go on for many minutes without words spoken, the action directed by the camera and acting alone.
Sadly there aren’t cowboys in Hamburg anymore. European and American cinema ignore each other, happily proud of their provincialism. But The American Friend stands as a reminder of a time when cinema knew no borders and when artists were more daring.
Original Language de
Runtime 2 hr 8 min (128 min)
Rated Not Rated
Genre Crime, Drama, Mystery, Thriller
Director Wim Wenders
Writer Patricia Highsmith (novel), Wim Wenders
Actors Dennis Hopper, Bruno Ganz, Lisa Kreuzer, Gérard Blain
Country West Germany, France
Awards 6 wins & 3 nominations.
Production Company Bavaria Film
Sound Mix Mono
Aspect Ratio 1.66 : 1
Camera Arriflex Cameras and Lenses
Film Length 1,376 m (Sweden, 16 mm), 3,440 m (Sweden, 35 mm)
Negative Format 35 mm (Agfa)
Cinematographic Process Spherical
Printed Film Format 16 mm, 4K DCP, Digital (Digital Cinema Package DCP), 35 mm