In this homage to the great films noir of the post-World War II era, German director Wim Wenders creates something that is uniquely European while being recognizably an addition to the noir genre. He cast Nicholas Ray and Sam Fuller (two of his favorite directors) not in an attempt to compare himself to them as some critics thought, but to acknowledge his debt to them as an artist. In addition, he also coaxes what is probably Dennis Hopper's best and most restrained performance; in the middle of Hopper's legendary black hole of drugs and alcohol, he manages here to seem subtle, sympathetic, and frightening, all at the same time. It is a good performance by any standard, and the fact that Hopper managed it when he did is a testament to his skill and dedication.

Master framer Bruno Ganz finds out that he is dying of an incurable blood disorder. Everyone else finds out too, including French ruffian Gerard Blain and American expatriate art-smuggler Hopper. Hopper, as the infamous Tom Ripley from Patricia Highsmith's series of novels, decides that Ganz would be the perfect hitman; since he's going to die anyway, perhaps he would like to leave his family some quick money. Hopper doesn't tell Ganz that he's connected, though; he uses Blain as a front. Blain alternately coaxes, harangues, and bribes Ganz until the quiet, unassuming artist agrees to go along with the plan, mostly because Blain has offered to get him into a prestigious hospital in Paris for a second opinion.

The plot is enigmatic, and it is really unclear exactly who the people are that Ganz is supposed to kill, or what their connection to Hopper is. The mood and visuals of the film carry you away from nagging questions about the plot, and Wenders is good at making things seem to make perfect sense over the protestations of your sense of logic. With lesser performers, it probably wouldn't have worked. Hopper and Ganz, though, carry it off perfectly. Besides, Wenders is paying tribute to the noirs of the 1940s, and they didn't make a heck of a lot of sense either.

Hopper is playing Tom Ripley in the second film version of Highsmith's most famous character. His nervous but engaging creep seems more like the older version of the Ripley presented in 1960's Purple Noon than in 1999's The Talented Mr. Ripley. The three of these films, though, would make an excellent triple feature.