Spoiler warning: This review contains spoilers for ‘Ripley’, directed by Steven Zaillian.
Kerry Violet
Steven Zaillian’s recent project, Ripley, sees the writer, producer and director take on Patricia Highsmith’s The Talented Mr. Ripley in a new, serialised format.
Previous Ripley Re-tellings
Over the years, The Talented Mr. Ripley has been the subject of various adaptations based on Patricia Highsmith’s 1955 novel, including Anthony Minghella’s film of the same name.
The Talented Mr. Ripley (1999) follows Tom Ripley, a down-and-out New Yorker, yet to establish himself in high society. When asked to visit Italy on behalf of the father of a one–time acquaintance, he jumps at the opportunity. From foreign films, alternative endings and a Netflix limited series, it is often remarked that “Tom Ripley has become a genre in himself”.
Four of the most notable Ripley retellings include Purple Noon (1960), The American Friend (1977) and in quick succession, Ripley’s Game (2002) and Ripley Under Ground (2005). While these films differ, Purple Noon strays from Highsmith’s subject matter, most obviously, as Alain Delon’s Ripley concludes with him getting caught.
Interpreting the Titular Role
Ripley has been portrayed by men of varying ages, intentions, and sexualities. The theme of sexuality has always been a discussion point among fans and critics alike. In the book, Tom explains, “I can’t make up my mind whether I like men or women, so I’m thinking of giving them both up.”
“You can tell he is in too deep, not in control of his actions, purely executing them as a raw, unfiltered reaction.”
Damon’s ‘99 interpretation is boyish, charming and slightly naive. The viewer doesn’t question his every move because he seems unsure of the next move himself. In Netflix’s Ripley, the protagonist is portrayed by Andrew Scott (Fleabag).
Aside from the physical characterisation, the emotional state of Ripley stands out in the series a degree more than in Minghella’s film. Scott’s Ripley appears cool, calm, collected, and almost villainous. Every move is calculated before his identity unravels, whereas what makes the original work is how the viewer connects with Damon’s Ripley. You can tell he is in too deep, not in control of his actions, purely executing them as a raw, unfiltered reaction.
A Not-So-Subtle Difference
“The gorgeous frames are dramatic and sultry in black and white”
The most obtuse example and arguably the most important difference between the film and the series is the circumstance of Dickie’s death. In the film, Tom strikes him with an oar, truthful to the book, yet immediately regrets it, becoming visibly upset. After offering to get Dickie help, we feel Tom’s affection for him, eventually killing him out of self-defence. Scott’s Ripley is sinister during this scene, nothing could change his mind about killing Dickie and Johnny Flynn’s presentation of the character is helpless. He unsurprisingly doesn’t fight back, and Tom beats him to death, yet again with an oar.
Striking Cinematography
Previous Ripley re-tellings share a love for warm-toned visuals. The kind of sepia-toned cinema that demands a yearning for Summer. Netflix reversed this colour palette entirely, making every shot of the limited series black and white. The Guardian’s Lucy Mangan described the series as “noirish” in her five-star review. In a new genre you could label ‘Netflix Noir’, the images of Italy work surprisingly well when stripped of saturation, highlighting the crime thriller roots of Highsmith’s tale. Inverting the visual expectations removes previous assumptions about Ripley as a character, paving the way for Scott to focus on the twisted mind of his version.
The gorgeous frames are dramatic and sultry in black and white, a choice that feels intentional and artistic, thus aligning with Dickie’s aspirations to become a painter, Marge’s writing (portrayed rather convincingly by Dakota Fanning) and Tom’s fascination with Caravaggio.
Highs and Lows
Art is a focal theme throughout, with multiple stills where the focus is the marvellous marble statues dotted around Atrani (which, unlike Minghella’s fictional town of Mongibello, is a real destination you can add to your travel wish list). This added to the series’ suspicion; you never know if Ripley is being watched, but the constant presence of the statues implies he isn’t entirely alone when committing crimes.
“The boat scene is the point of no return in any Ripley adaptation.“
Interestingly, when Freddie is murdered in the ‘99 film, it is the bust of a statue that Tom uses as the murder weapon. The same device is used when the landlady’s cat witnesses him dragging Freddie’s body down the stairs, hitting his head on every step, leaving a trail of blood behind for the cat to roam around.
What Didn’t Work?
Unfortunately, Netflix’s reimagination of Ripley felt unrealistic. The series is at its corniest in the eighth episode, where the titular character uses a dodgy wig to convince Inspector Ravini somehow that he isn’t the same man previously masquerading as Dickie.
Inspector Ravini: you look and sound remarkably like Mr. Greenleaf
Tom Ripley, pulling down his lace front: whatever could you possibly mean— Elia (@eliakarra) April 15, 2024
A finale should be high-adrenaline and convincingly on edge, but this moment shifted the mood entirely. Sadly, Zaillian has a habit of doing this throughout his adaptation. He takes the viewer out of the scene in the most iconic moments by making it less believable; this has divided critics.
The boat scene is the point of no return in any Ripley adaptation. Netflix followed this with a bizarre, dialogue-free segment where Tom is thrust overboard by the diving bell. He tries to regain control of it but is instead smacked around the back of the head, rendering him unconscious. Earlier in the series, we learn he is not a strong swimmer; was this just another lie that alludes to the mystery of his character? Or is this a significant factor that makes it even more unrealistic that he didn’t drown?
Does it Stand Up?
As a standalone project, it is classy, entertaining and unique. However, in the context of the Ripliad, this adaptation would only succeed if more episodes were to come.
Zaillian’s Ripley was a fraudster, whereas Minghella’s was unstable. The series is not as convincing when the essence of Ripley is lost. If Ripley is Netflix Noir, it lacks the realism and grit commonly associated with its well-established Nordic counterpart.
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Featured image courtesy of Paul Asman and Jill Lenoble via Flickr. No changes were made to this image. Image license found here.
KerryViolet
Kerry graduated with a degree in journalism from the University of Sheffield and has since pursued her passion for writing as a motorsport journalist. With an affinity for sport and film, Kerry is working towards her dream of becoming an F1 presenter.