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Following up on yesterday's Deloniriffic gifathon (say that five times fast) comes the natural query that itself leads to something curious: in René Clément's film it's the Tom Ripley character that's played by the more beautiful actor (Delon), while in Anthony Minghella's film it's the character of Dickie Greenleaf that gets to be the hot one (Law). (Nothing against Maurice Ronet or Matt Damon of course, but they don't really stand a chance in this game.) I'd say it's Minghella's take that's more true to Patricia Highsmith's intentions with her original story, but the differences make for an interesting revelation. In Ripley, Tom's a cipher whose desire is projected outside of himself, onto Dickie. He loves Tom so much he just eats him right up. But in Noon Clement skirts the homosexual element (very very slightly) by making it more about self-love - it's Tom's own beauty and narcissism that swallows up those around him.
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8 comments:
Alain Delon. That's not even a competition!
"The Talented Mr. Ripley"s combination of intense homoeroticism and intense creepiness fucked with my gay, 14 year old head. I don't know if the Germans have a word for something that's simultaneously arousing and disturbing, but that's what that movie's effect on me was. It also gave me a major Jude Law crush that caused me to forgive a lot.
Lauren - agreed! Jude Law is nothing to throw potatoes at, but seriously folks! -MA
I love me some Alain Delon, but Jude Law runs away with this one. I couldn't wrap my adolescent head around how beautiful he was when I first saw this movie... and how creeped out I was by myself upon realizing how much I was identifying with Damon's serial killer.... ha. Zev and I were in the same boat!
I love both of those films.
Ha, I knew it would be a dead heat before I even clicked the results, but, wow, exactly even...two very hot guys...hard to choose.
Jude Law was actually pretty far in the lead for awhile, but Delon's caught up nicely now.
this is an eternally valid comparison, but the answer is forever in favour of the Frenchman.
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