e essays in this book; "Coming out as going in: the image of the homosexual as a sad young man," is the most useful one for my purposes.
             In this essay Dyer writes that, the image of the young homosexual man is given as a sad. This sad, rather tragic character is pinned as looking to the horizon, looking over another man's shoulder. The trick is that, this sad young man never touches the man in front of him or looks at him directly. Dyer writes that he had looked at the Anglo-American examples of book covers, movies, posters, paintings:
             "The examples I have taken throughout this discussion are all Anglo-American. There certainly are equivalents throughout northern European culture (and perhaps in the southern), but this is not something I have explored further... The centrality of the stereotype is most marked in the 1940s, 1950s and 1960s although examples can be found before and after this."
             First it would be appropriate to distinguish between the "gay" and the "straight" people and the way they were portrayed. The movie starts with broken images of Tom Ripley. The first images we see on the screen are taken from the last moments of the film. This indicates a tragic character. The end is inevitable. The viewers are shown the end before they even start to comprehend the movie. The viewer actually does not understand what exactly would happen at the end but he can understand that Tom Ripley would be torn to pieces.
             Next the plot starts to develop. We see Tom Ripley meets Herbert Richard Greenleaf the 1st, than his trip to Italy on the request of this man to get his son back to America. From the first moment on, it is obvious that Tom Ripley is capable of forgery, lying and playing people.
             When he comes to Italy, he makes a plan to meet both Marge and Dickie. First he sits in a hotel room and watches the lovers by his binoculars than he gets down to business. The first time Dic...