Why did Patricia Highsmith initially despise this iconic adaptation of her own novel?

Entertainment · Published 3 October 2026 Swipe more like this →

In short: Wim Wenders’ 1977 neo-noir The American Friend transformed Patricia Highsmith’s Ripley’s Game into a moody, existential thriller. Despite the film’s eventual acclaim, Highsmith was initially repulsed by the adaptation. It took a second viewing in a Paris cinema for her to realize the film had captured the essence of Tom Ripley.

The American Friend follows Jonathan Zimmermann, a terminally ill picture framer, who is manipulated by the career criminal Tom Ripley into becoming an assassin. Wenders, a devoted fan of Highsmith’s work, secured the rights to the unpublished manuscript of Ripley’s Game in 1974. While the film is primarily an adaptation of that novel, Wenders also incorporated elements from the earlier Ripley Under Ground, despite not officially holding the rights to do so.

The production was marked by unconventional choices, including Wenders’ decision to cast fellow directors as the film’s gangsters, such as Samuel Fuller and Nicholas Ray. Dennis Hopper, suggested by John Cassavetes after he declined the lead role, plays Ripley as a rich American living in Hamburg. The film’s title itself was inspired by the onscreen chemistry between Hopper and Bruno Ganz, who plays Zimmermann. Wenders had previously considered titles like Framed and Rule Without Exception.

Critical reception has been largely positive, with Rotten Tomatoes reporting an 88% approval rating. Critics often praise the film’s thick atmosphere and the veracity of its character relationships, though some, like David Nusair, have criticized the final act. Highsmith’s eventual change of heart was significant; she later praised the film’s stylishness and specifically lauded the train sequences. By 1988, she concluded that Wenders had captured the character of Ripley better than any other filmmaker.

The film was selected as the West German entry for the 50th Academy Awards but failed to secure a nomination. It remains a standout in the loose collection of Ripley adaptations, which include films ranging from 1960’s Purple Noon to the 2024 television series. Unlike modern franchises, these adaptations were never intended to form a cohesive series, leaving each film to stand as an independent interpretation of Highsmith’s dark, complex protagonist.

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