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I have no excuse. I just...can't quite put into words what I feel for this film. When anyone speaks of the late (and wonderful) Anthony Minghella no doubt they'll refer to 'The English Patient'. And why shouldn't they, it is, afterall, an amazing film. But this, right here? For me, this is his masterpiece. This is the film that I fell in love with. This is the film that opened my heart to Matt Damon, Jack Davenport and Venice.
And so this is my little tribute, that can't do justice to the impact it had on me.
Tom collides with Peter in the corridor.
T: "Oh excuse me!"
P: "Hello."
T: "..Hello."
LOVE AT FIRST SIGHT AND THE MOST AMAZING EYESEX EVER, TRUFAX.
There's music everywhere - and stands - and posters of performances and photographs of Peter conducting. Peter is an opera repetiteur. Tom is sitting at Peter's piano, playing from the score of Vivaldi's Stabat Mater. Peter's made supper. He's setting the table.
P: Can you imagine if he did kill Freddie though? What that must be like? Just to wake up every morning, I mean, how can you? Just...wake up and be a person...drink your coffee...
T: Well whatever you do, however terrible, however hurtful, it all makes sense, doesn't it? In your head...You never meet anyone who thinks *they're* a bad person.
P: Well no, but you're still tormented, you must be, you've killed somebody...
T: Don't you just take the past and put it in a room - in the basement - and lock the door and never go in there? That's what I do.
P: Oh God yes. Although in my case it's probably a whole building.
Tom watches him walk through the door and ceases playing.
T: And then you meet someone special and all you wanna do is toss them the key. Say; 'open up, step inside'. But you can't, because it's dark, and there are demons...and if anyone saw how ugly it is...
P: Now that's the music talking. It's harder to be bleak if you're playing 'Knees Up Mother Brown'.
T: I keep wanting to do that...fling the door open, just let the light in...clean everything out. If I could take a giant eraser and rub everything out, starting with myself...
The thing is Peter, if...if...
Tom trails off into silence.
P: No key, huh?
Tom and Peter are singing happily, bumping one another's shoulder.
T: Ask me what I wanna change about this moment.
P: I don't know, what do you want to change about this moment?
T: Nothing.
ALS'A;SCNXISOUC,korf
P: I'm...I'm completely lost.
T: I know. I'm sorry, Peter. *I'm* lost. I'm gonna be stuck in the basement, aren't I, aren't I. That's my...terrible, and alone, and dark. And I've lied, about who I am. And where I am. And now no one will ever find me.
P: What do you mean, 'lied about who you are'?
T: I always thought it would be better, to be a fake somebody, than a real nobody
P: What are you talking about? You are not a nobody, that's the last thing you are.
T: Peter...tell me some good things about Tom Ripley.
Peter goes to rise but Tom pushes him gently back down.
T: No, no, don't get up. Just...tell me some nice things about Tom Ripley.
P: Good things about Tom Ripley? That could take me some time. Tom is talented. Tom is tender. Tom is beautiful...
T: *half laughing, half sobbing*You're such a liar.
P: Tom is...Tom is a mystery. Tom is *not* a nobody. Tom has secrets that he doesn't want to tell me...and I wish he would. Tom has nightmares...that's not a good thing. Tom has someone to love him...that is a good thing.
Mmm, Tom is crushing me. Tom is crushing me. Tom, Tom, you're crushing me....
LA LA LA I'M NOT LISTENING ANYMORE. I CAN'T DEAL WITH IT.
Except that, can I be serious for a moment? Because even though the ending kills me. every. single. time. I kind of...came to this realisation. For me, this scene is never about killing Peter. It's about killing Tom Ripley. Just...listen, and watch, and hopefully you'll agree.
I missed some bits of here, like all the scenes with the police. Oh and the "your key" bit which was totally important and I should of included, ha. My bad.
Caps and colouring by moi. You can use for icons, repost, whatever you like, I don't mind.