Description
Tom Ripley is a calculating young man who believes it's better to be a fake somebody than a real nobody. Opportunity knocks in the form of a wealthy U.S. shipbuilder who hires Tom to travel to Italy to bring back his playboy son, Dickie. Ripley worms his way into the idyllic lives of Dickie and his girlfriend, plunging into a daring scheme of duplicity, lies and murder.
Only the starting points of the plot remained from the original book, and so many events were added between them that it was impossible to breathe. But Ripley's backstory was still missing.
The scattering of young and rosy-cheeked faces of the current inhabitants of the acting Olympus evoke a pleasant nostalgia for real cinema (I didn't quite understand what Meredith's plot was, but I never mind Cate Blanchett). In general, 1999 was the best year in the history of cinema.
The comparison in numerous articles of the kitschy Saltburn with the classics of the detective genre of the 50s is so superficial and stretched to the globe that it serves as rude flattery (perhaps deliberately invented by the producers of Saltburn).