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The American Friend | Year: 1977 Classification: Foreign Film - German Directed: - Wim Wenders Actors/Actresses: - Dennis Hopper - Bruno Ganz With friends like these. . . . One of the best adaptations of a Patricia Highsmith novel (*Ripley's Game*) ever filmed, and one of Wim Wenders' best movies, too. But, according to the commentary on this DVD, Ms. Highsmith was originally aghast at Wenders' treatment of the story -- it's a very loose adaptation -- and of the character Tom Ripley (Dennis Hopper in a cowboy hat, a figure radically different from the suave manipulator in the book). As the years passed, she apparently grew reconciled to the movie on its own terms, and why not? -- the themes of the seductiveness of evil and of the abyss yawning below any "normal" person's life are rigorously limned in *The American Friend*. And Wenders brings some ideas of his own to this material, most notably the distasteful spectacle of a dominant world power and culture (e.g., the United States) crassly pirating the leavings of an older civilization (e.g., European): a way of life and thought, even a fraudulent version of it, is available to the highest bidder only. Above and beyond the intellectual stuff, the movie also happens to have several suspenseful stretches. Best example: the scene where the modest picture-framer from Hamburg (a never-better Bruno Ganz), having been roped into being a hitman due to the machinations of an insulted Tom Ripley, ineptly tails an American gangster through the subterranean Paris metro. Ganz needs the money for his family, but he's in bad health (a heart condition), and can barely stay alert while fighting anxiety attacks and physical exhaustion. Great stuff! Also of note is a prolonged and quite humorous assassination attempt aboard a speeding bullet train. (Hopper and Ganz share swigs from a flask and giggle at each other while guarding the murder scene -- the lavatory -- from discovery.) Wenders and his brilliant DP, Robby Muller, add to the atmosphere of malaise with the judicious use of pulpy color, blinding carnival-esque neon, and garish camera filters (blood-red skies at sunset and such). As for the performances: Hopper's Ripley really doesn't come alive until the last stretch, when he's given more time to work through his performance. Part of the problem is that the character -- in this movie -- is more of an idea rather than a fleshed-out human being. This is Bruno Ganz' movie all the way, and he makes the most of it. It's an unforgettable performance. It's a pretty unforgettable movie, on the whole. [The DVD's commentary, by Wenders and Hopper, is almost worth the price of admission on its own. It's enjoyable to listen to two old pros whose careers are full of accomplishments . . . one of which, of course, is *The American Friend*.] The American Friend A superb rendering by Wim Wenders of the Patricia Highsmith novel Ripley's Game, with Dennis Hopper and Bruno Ganz in memorable acting. Unforgettable the scene on the beach in Hamburg in the orange VW Beetle, with Ganz muttering BABY YOU CAN DRIVE MY CAR! Get it! Win Wenders' masterpiece It's in many ways not fair to entitle this film as just a film noir.<BR>I state that because , first at all remember. we are talking about of Patricia Highsmith , one of the most gifted minds in the north american literatute. If you analyze all her literaries works, as Strangers on a train,(Hitchcock) or A plenn soleil(Rene Clement), you'll find all the characters are envolved in a cosmical trick. It's true that the hopeless who surrounds establishes an anticipated fate in all their actions. But what Highsmith adds in every work, including the american friend is the lack of any kind of feeling or ethical consideration carried to a level that they become in models. I mean, it's very hard for us to find by instance, with a character as Mr. Rippley in any street of any city in the world. These characters are not common.<BR>That's the most remarkable virtue in Highsmith and Wenders so Clement and Hithcock understood and exploited this item like few.<BR>Wenders,one of the three kings of the german filmography in the seventies, (together with Fassbinder, Herzog, and Hauff), knew how to deal with that and make a clever twist in an age where the key works of the neo film noir, a genre that slowly was left and replaced by thrillers with little trascendence.<BR>This film , in my point of view, made grow up to Dennis Hopper, not only as actor, but as a filmmaker. (Remember his best work as director titled Colors).<BR>This film is eternal. And that means just one thing: it's a masterpiece. And obviously, it will resist the years and far of getting old, it will enrich us, every time we watch it. Buy The American Friend at Amazon.com Buy posters at Allposters.com Jamster - the latest ringtones for your phone!  Search with Walhello on the Internet on The American Friend Search with the Priority Search Engine on The American Friend This page in other languages: Suomeksi | Nederlands | Deutsch
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