Netflix’s “Ripley” is a hypnotic and sinister adaptation of Patricia Highsmith’s celebrated 1955 psychological thriller novel “The Talented Mr. Ripley.” Brought to the small screen by the accomplished Steven Zaillian — Oscar-winning writer of “Schindler’s List” and creator of “The Night Of” — this eight-episode limited series reinterprets Highsmith’s cunning con artist Tom Ripley with surgical precision and visual splendor.
Andrew Scott, the illustrious “Hot Priest” from “Fleabag,” dons the titular role, imbuing Ripley with a disquieting allure that seduces even as it repulses. Set against the sun-drenched vistas of 1960s Italy, captured in luscious black-and-white cinematography, this adaptation peels back the layers of Highsmith’s antihero to reveal a masterclass in moral disintegration — a spellbinding yet disturbing descent into the abyss of human depravity that leaves an indelible mark.
The Duplicitous Masquerade
In 1960s New York, Tom Ripley ekes out a meager existence as a skilled con artist, his unassuming demeanor masking a sinister penchant for deception. However, a chance encounter offers him an irresistible opportunity – to impersonate a wealthy man’s acquaintance and infiltrate the charmed life of Dickie Greenleaf, an heir squandering his inheritance amid the sun-drenched splendor of Italy.
Seizing this golden ticket, Ripley ingratiates himself into Dickie’s inner circle, forging a seemingly innocuous friendship that belies his dark machinations. As the boundaries between truth and lies blur, Ripley’s obsession with Dickie’s opulent lifestyle intensifies, catalyzing a chilling chain of events that unravels in a crescendo of lies, betrayal, and ultimately, murder.
Propelled by Andrew Scott’s tour-de-force performance, “Ripley” chronicles the antihero’s perilous masquerade, each episode a taut exploration of his desperate attempts to maintain the coveted façade. From meticulously crafting false identities to outwitting the relentless Inspector Ravini hot on his trail, Ripley’s web of deceit tightens inexorably, ensnaring not only himself but also those unfortunate souls who cross his path.
Amidst the exquisite backdrop of Italy’s sun-dappled villas and winding cobblestone streets, darkness festers, casting an ominous pall over Ripley’s Machiavellian exploits. With each audacious gambit, the series ratchets up the tension, inviting viewers to bear witness to the tragic unraveling of a man’s soul – a captivating yet chilling exploration of the depths to which one might sink in pursuit of an elusive mirage.
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Peeling Back the Masks
At the dark heart of “Ripley” beats Andrew Scott’s mesmerizing portrayal of Tom Ripley, the series’ manipulative and morally bankrupt protagonist. From his unassuming introduction as a grifter in 1960s New York to his gradual descent into an abyss of deception and violence in Italy, Scott’s nuanced performance lends depth to this notorious antihero.
Ripley is a chameleon, effortlessly donning masks to suit his nefarious needs, and Scott seamlessly transitions between Ripley’s disarming charm and his cold, calculating nature. His piercing gaze and serpentine movements exude a palpable sense of danger, heightening the tension as his web of lies tightens. Yet, Scott imbues Ripley with flashes of vulnerability, hinting at the desperate loneliness and insecurity that fuel his obsession with Dickie Greenleaf’s privileged existence.
Johnny Flynn’s portrayal of Dickie, the scion whose life Ripley covets, is equally compelling. Flynn captures Dickie’s carefree hedonism and entitled aloofness, his character a stark contrast to Ripley’s cunning and determination. As Dickie’s suspicions of his “friend” grow, Flynn skillfully portrays the cracks in his veneer of nonchalance, setting the stage for the series’ tragic turn of events.
Dakota Fanning shines as Marge, Dickie’s intelligent and perceptive girlfriend. Fanning deftly navigates Marge’s evolution from initial skepticism towards Ripley to a reluctant, ill-fated alliance, her performance imbuing the character with a haunting complexity that lingers long after the credits roll.
Maurizio Lombardi’s Inspector Ravini is a force to be reckoned with, his dogged determination to unravel Ripley’s web of deceit injecting the series with a palpable sense of urgency. Lombardi’s understated yet commanding presence grounds the narrative in reality, serving as a counterweight to Ripley’s escalating transgressions.
The ensemble is rounded out by a host of supporting characters, each bringing their own distinct flavor to the richly textured tapestry of “Ripley.” From the cunning Freddie Miles (Eliot Sumner) to the world-weary expatriates who cross paths with Ripley, each performance contributes to the series’ immersive and unsettling atmosphere.
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Mastering the Art of Deception
“Ripley” is a masterclass in visual storytelling, its technical prowess elevating the narrative to dizzying heights of artistic expression. Foremost is the bold choice to render the series in exquisite black-and-white, a decision that pays dividends in crafting an atmosphere of brooding tension and moral ambiguity.
Cinematographer Robert Elswit’s stunning camerawork is a feast for the senses, each meticulously composed frame a study in chiaroscuro. Shadows dance across the contours of Andrew Scott’s face, mirroring the darkness that lurks within his character’s soul. The sun-dappled landscapes of 1960s Italy, captured in striking monochrome, become more than mere backdrops – they are canvases upon which Ripley’s duplicitous exploits unfold, the stark contrasts reflecting the duality of his false and true selves.
Director Steven Zaillian wields a deft hand, imbuing the series with a deliberate pacing that heightens the sense of foreboding. Scenes linger, allowing the tension to simmer and the dread to take root. Zaillian’s command of atmosphere is masterful, with each frame pregnant with unease, inviting viewers to become voyeurs to Ripley’s descent into depravity.
The production values are nothing short of impeccable, with meticulous attention paid to capturing the era’s essence. The lavish villas and sun-drenched piazzas transport audiences to a bygone era, their opulence a stark contrast to the rot that festers beneath the surface. Every detail, from the costumes to the set dressings, is a testament to the series’ unwavering commitment to authenticity, immersing viewers in the seductive allure of Ripley’s world while simultaneously exposing its dark underbelly.
Zaillian’s directorial choices are equally masterful, punctuating the narrative with haunting visual motifs that linger in the mind long after the credits roll. Statues and gargoyles leer from the shadows, their hollow eyes mirroring Ripley’s own soulless gaze. Staircases become labyrinths of deception, each step leading deeper into the abyss. And in a stroke of genius, the series pays homage to the works of Caravaggio, whose chiaroscuro masterpieces serve as a visual leitmotif, their contrasts of light and dark echoing the moral ambiguities that permeate “Ripley.”
Mirrors of the Soul
Beneath its captivating veneer of suspense and intrigue, “Ripley” is a searing exploration of the human condition, dissecting weighty themes that resonate long after the final credits roll. At its core, the series is a meditation on morality, challenging viewers to confront the darkest recesses of their own psyche as they bear witness to Ripley’s descent into depravity.
Identity is a central motif, with Ripley’s very existence a tapestry of lies and assumed personas. As he sheds one skin for another, the series poses profound questions about the nature of selfhood – are we defined by our actions or our intentions? Is the self an immutable construct, or a malleable facade shaped by circumstance and desire?
Privilege and class are laid bare, Ripley’s obsession with Dickie Greenleaf’s opulent lifestyle a scathing indictment of the societal divide. His envy transforms into a warped sense of entitlement, blurring the lines between covetousness and outright criminality. The series deftly explores the toxic allure of wealth and status, and the lengths to which some might go to attain them.
Obsession is the driving force behind Ripley’s transgressions, his infatuation with Dickie’s existence spiraling into a dangerous fixation. The series delves into the psychology of this obsession, laying bare the insecurities and vulnerabilities that fester beneath Ripley’s carefully constructed facade. In doing so, it invites viewers to confront their own demons, to grapple with the demons that lurk within us all.
Adapting Highsmith’s seminal work, “Ripley” retains the novel’s exploration of amorality and the human capacity for evil. Ripley is neither hero nor villain, but a complex anti-hero whose actions challenge traditional notions of right and wrong. The series forces viewers to confront their own moral compasses, to wrestle with the idea that we are all capable of darkness, given the right circumstances.
Ultimately, “Ripley” is a philosophical tour de force, a provocative meditation on the human condition that lingers long after the final frame. Its thematic depth and unflinching gaze into the abyss of the soul elevate it from mere thriller to a work of profound artistic merit, a masterpiece that demands to be dissected and discussed, its questions left to echo in the mind of the viewer.
Echoes of the Past, Visions Anew
While “Ripley” treads familiar ground as an adaptation of Patricia Highsmith’s iconic novel, it distinguishes itself from its cinematic predecessors with a bold, uncompromising vision that breathes new life into the tale of Tom Ripley’s moral descent.
Unlike Anthony Minghella’s 1999 film, which reveled in the sensuous allure of its Italian setting and the homoerotic tensions between its characters, Zaillian’s take adopts a cooler, more clinical approach. Gone are the sweaty passions and sun-drenched revelry, replaced by a stark, monochromatic palette that mirrors the hollowness of Ripley’s soul.
Andrew Scott’s portrayal of the antihero is a marked departure from Matt Damon’s more sympathetic interpretation. Scott imbues Ripley with a reptilian detachment, his charm a mere veneer concealing the cunning predator within. This Ripley is less a product of circumstance than a born sociopath, his actions driven not by desire or envy, but by a chilling amorality that renders him all the more unsettling.
Yet, for all its deviations from previous adaptations, “Ripley” remains faithful to the spirit of Highsmith’s work, capturing the novel’s exploration of identity, obsession, and the darkest recesses of the human psyche. Zaillian’s measured pacing and meticulous direction allow the tension to simmer, each episode a slow-burning descent into the abyss of Ripley’s deceptions.
Where the series truly excels is in its technical mastery. The black-and-white cinematography is a revelation, transforming the Italian landscapes into haunting canvases of light and shadow. The production design and attention to period detail are impeccable, transporting viewers to a bygone era with vivid authenticity.
While some may find the series’ deliberate pace and lack of overt thrills a shortcoming, those willing to surrender to its hypnotic rhythms will be rewarded with a richly layered psychological study that lingers long after the final frame.
In the crowded pantheon of Ripley adaptations, Zaillian’s vision stands apart – a bold, uncompromising work of art that dares to confront the darkest corners of the human soul, leaving an indelible mark on all who bear witness to its unsettling beauty.
Cimmerian Elegance Concealing Profane Truths
In the realm of visual storytelling, “Ripley” stands as a towering achievement – a masterwork of style and substance that seduces the senses even as it plumbs the darkest depths of the human condition. Steven Zaillian’s adaptation is a triumph, elevated by Andrew Scott’s tour-de-force performance and the series’ exquisite black-and-white cinematography.
Yet, for all its technical brilliance and thematic richness, “Ripley” is not a series for the faint of heart. Its glacial pacing and uncompromising exploration of moral ambiguity may prove a challenge for those seeking more conventional thrills.
But for the discerning viewer, willing to surrender to its hypnotic rhythms and confront the profane truths that lurk beneath its cimmerian elegance, “Ripley” is a revelatory experience – a cerebral and haunting meditation on identity, obsession, and the darkness that resides within us all.
Brace yourself, for this descent into the abyss is not a journey to be taken lightly. But for those brave enough to embrace the shadows, “Ripley” promises to linger in the mind and soul long after its final, chilling frames. An extraordinary achievement in every sense of the word.
The Review
Ripley
Steven Zaillian's "Ripley" is a masterful adaptation that burrows deep into the psyche of Patricia Highsmith's iconic antihero. With Andrew Scott's mesmerizing performance at its core, this noir-tinged psychological thriller is a stylistic tour de force, rendered in exquisite black-and-white cinematography that casts an ominous pall over the sun-drenched Italian landscapes. While its deliberate pacing may test the patience of some viewers, those who surrender to its hypnotic rhythms will be rewarded with a richly layered exploration of morality, identity, and the darkest recesses of the human soul. Haunting, provocative, and tragically beautiful, "Ripley" lingers long after the credits roll, solidifying its place as a remarkable achievement in prestige television.
PROS
- Andrew Scott's riveting, multilayered performance as Tom Ripley
- Stunning black-and-white cinematography that adds a haunting, noir-like quality
- Rich exploration of complex themes like morality, identity, and obsession
- Impeccable production values and attention to period detail
- Measured pacing that allows tension and dread to simmer effectively
- Faithful adaptation that captures the spirit of Patricia Highsmith's novel
CONS
- Deliberately slow pacing may be too sluggish for some viewers
- Lack of overtly thrilling moments or action set pieces
- Ripley's amorality and lack of sympathetic traits may alienate some audiences
- Monochromatic visuals, while stylish, could feel monotonous over 8 episodes
