What role could Alain Delon, Dennis Hopper, Matt Damon, John Malkovich, and Barry Pepper have in common? These men have all portrayed varying degrees of ruthlessness, but that each has been selected at different times to portray Patricia Highsmith’s Tom Ripley is a bit surprising. Thus I suppose the most interesting thing about Wim Wenders’ The American Friend (1977) isn’t contained within the film, but is found in its inevitable comparison to others. Admittedly, I’m only vaguely familiar with the Ripley character, having only seen Damon’s performance in 1999s The Talented Mr. Ripley prior to viewing this piece. I’ve been directed by Ebert’s “Great Movies” series to 2002s Ripley’s Game and am now eager to view Malkovich’s interpretation.
In Wenders’ piece it’s Hopper who has the honors and I must say that his take on Ripley is quite different than Damon’s. That Malkovich and Hopper had been tapped to play the same role doesn’t surprise me, but throw this comparison in and I’m left furrowing my brow. Hopper plays the role like Dennis Hopper but that’s to be expected. Wenders likely knew what he was in for. With Damon more than twenty years later, audiences were still waiting to discover just what he was made of. His Ripley seemed to sidestep stress with a cool intensity as opposed to embracing it with the fervor of a madman as Hopper does. The two films are based on different installments of Highsmith’s saga so a direct comparison is unfair, but taking both portrayals into account makes for interesting thought. This Ripley finds himself still living in wealth in Europe several years after the events displayed in the 1999 film. He is the American friend of the title, who sustains his lifestyle by fronting an art forgery scam of sorts. One strange element here is his wardrobe, which I suspect Hopper provided himself, that seems more suited to the American West than the French countryside. The man whom he befriends is a professional framer (Bruno Ganz), suspicious of one of the pieces an acquaintance has purchased from Ripley at an auction. Everything seems legitimate but “the blue is a bit off.” Overhearing at the auction a critical piece of information pertaining to a disease, Ripley decides that he might have a use for this meticulous man.
Exploiting what he knows, he persuades the Ganz character to commit a murder for which he would never become a suspect, but as always with Ripley much hinges on deceptions and half truths. When the mission is completed, another opportunity arises from a third party, but the framer wants no more. Complicating things is the fact that Ripley and the framer have developed a congenial respect and moderate friendship (hence the title). When Ganz’ character finds himself in over his head, Ripley is miraculously present to help mop up the messy details. There are some moments of legitimate suspense here, but that emotion doesn’t rival the shear pleasure of watching Hopper somehow work his magic. He brings something to the role that I’m not sure that I like, but that I don’t believe many other performers could perfect. He’s intense, and confused, and frustrated, and controlled all at once. I’m looking forward to the Malkovich take on this same scene if it appears in the 2002 adaptation Ripley’s Game.
This piece is also notable for Wenders’ casting of directors Nicholas Ray and Samuel Fuller in smaller roles. They fill them well but the focus here is on the two leads. As Hopper unwinds Ganz’ character stirs over the possibilities of an impending death making for an intriguing onscreen juxtaposition. If interesting performance and odd endings are your fandom forte then this piece is likely for you.
Grade: 2.5 Hats Off
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