by Jake Bourgeois, Contributing Writer
Neither an Alien spinoff nor an exploration of the man behind everybody’s favorite book of oddities growing up as a kid (though, admittedly I now want that), Netflix’s newest miniseries seeks to put a new twist on a popular thriller.
Ripley is another adaptation of The Talented Mr. Ripley, perhaps most well-known in its form of the 1999 movie starring Matt Damon. Like the other versions, Ripley follows the tale of a grifter named Tom Ripley (Andrew Scott), who lives in New York. He’s hired by a wealthy man to get his son back, leading to a tale of murder and lies in an Italian paradise. Admittedly, the Matt Damon film is on my list of shame, but it’s one I’ve been meaning to get around to. So this story with this cast was an easy combination to get me to tune in.
And let’s start with the cast, as that was the initial pull. Scott inhabits the titular role, and that’s immediately enough to get me at least intrigued. Ever since he burst on to the screen as Moriarty in Sherlock, he’s made a ton of intriguing and excellent decisions, with Fleabag and All of Us Strangersprobably being chief among them. Unsurprisingly, given how well he made his mark as Moriarty, he’s really good here, inhabiting a character that’s anything but easy. He’s always one slip away from the whole façade crumbling down, portraying the character both with the confidence needed to keep the ruse going, while simultaneously living in fear of everything falling apart just under the surface.
The main supporting duo is also portrayed by a pair of faces I’m always happy to see. Johnny Flynn plays Richard Greenleaf, the man Ripley is sent to Europe to find. From Emma., to The Outfit, to Operation Mincemeat, Flynn has a knack for popping up in projects I adore, or at the very least enjoy at a higher level than most, and he’s great again here as an American living it up abroad. Dakota Fanning plays Flynn’s girlfriend, Marge, one of the few who aren’t immediately taken in by Tom Ripley. It’s a good, albeit often very stoic, performance, and I’m just happy to see her back in the limelight. Between this project, Equalizer 3, and the upcoming The Watchers, it seems like we’re in a bit of a comeback moment for Fanning, and I could not be more pleased. The supporting character who may steal the show, though, is an unfamiliar face. It’s when Maurizio Lombardi enters the picture as Inspector Pietro Ravini that things really kick into high gear. His meticulous nature made for a great cat-and-mouse dynamic with Scott’s Ripley, one of the best parts of the miniseries.
There are a ton of really good actors giving some very good performances, but nothing I would call “standout.” That designation goes to the technical side of the show.
Whenever something is shot in black and white, the question always needs to be asked, “Is it necessary?” While I don’t know that the answer is yes, they do the next best thing and shoot the absolute hell out of this thing. The cinematography from Robert Elswit (who also shot George Clooney’s black and white Good Night, and Good Luck) is stunning from beginning to end. He knows how to use this color scheme to make things pop with the contrast of lighting and shadow. It may only be April, but I’d be shocked if I see anything shot better on the small screen this year. I’m honestly not sure how many movies will give it a true run for its money.
With stunning photography on display, the series is a masterful example of show-don’t-tell. For long stretches, the show allows simply the sights and sounds to tell the story — with minimal to no dialogue. That could be waves crashing against the shore, or our lead walking down a stone hallway. It’s particularly effective when highlighting the razor’s edge our grifter is balancing on while pulling off his scheme. A shot of missed blood here or there, cleaned up the next time our attention is drawn to it. A look from a bank teller. A simple paw print (which also happens to provide our only splash of color). It’s a particularly effective way to tell this story. As someone who’s used to their con men being chatty, like those in Ocean’s Eleven or Catch Me if You Can, here, it’s when we’re shown things visually that Ripley is at its most effective. I personally, didn’t largely buy his attempts as much when he’s either asked to talk himself out of trouble or creating false narratives through his letters.
If there is something that throws the show off at times, it is the deliberate pacing. It’s not a minor problem either, as it can make it drag at times, and I can see it spoiling the experience for some. It’s certainly intentional, though, from showrunner Steven Zaillian (The Night Before, Schindler’s List). On occasion, the lingering lingers a touch too much. It makes it into a thriller that doesn’t have much “thrill” in it, and there’s not much energy to proceedings. Even the performances, though good, are all rather understated. For those where the visual flair and solid performances aren’t enough, I could see this being a project that doesn’t work.
This is a fascinating study as an adaptation — particularly for an introduction. The book it’s based on is relatively short, some 250 pages, so I’m intrigued as to what is changed and what the extra time is used to stretch out, aside from the lingering shots. Even the choice to linger on beautiful Italian vistas without the benefit of color is fascinating. There are other questions I’ve had my intrigue piqued about, too. Like whether the fascination with Caravaggio is present in all, or if it’s a thematic element added for this series. It’s something I’m curious to explore further.
It’s a fascinating entry point that both stands on its own as a work of art and, even more so than ever, has me itching to watch other adaptations for comparison.
Rating: Liked It
Ripley is currently streaming on Netflix
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