Patricia Highsmith's Tom Ripley is a fascinating criminal character, who has been portrayed by Alain Delon, Matt Damon, Dennis Hopper, and John Malkovitch over the years. The latest Ripley, Andrew Scott, might be the best one yet, though Scott is not an obvious choice for the part. Netflix's new "Ripley" miniseries adapts "The Talented Mr. Ripley," which is about the early days of Ripley when he was just starting out with minor scams and confidence games. Scott, who is in his forties, initially seems much too old to be playing the young Ripley. However, he's so mesmerizing to watch that I completely forgot about his age after two episodes.
Scott's performance gets plenty of assistance. Written and directed by Steven Zaillian, the miniseries is immaculately constructed so that every little detail is imbued with character, and every look and glance and pause by the actors is as important as the spoken dialogue. A significant amount or "Ripley" is in Italian, and I found it very easy to follow what was going on, even when I neglected to turn on the subtitles. The visual storytelling is so concise and so clear, in a way that is far too rare. I can't say enough about the stunning black and white cinematography from Robert Elswit, creating dreamlike views of Italy and private film noir purgatories. And of course, he knows just how to focus on the little details that ratchet up the tension to dizzying heights.
I've seen other adaptations of "The Talented Mr. Ripley," but this production feels completely unique. Maybe it's Zaillian's takes on the characters, such as a Richard Greenleaf (Johnny Flynn) and a Marge Sherwood (Elle Fanning) who feel like more substantial people with their own problems. Maybe it's the careful attention to fashion and decor choices that make the whole experience feel so immersive. Maybe it's having a Freddie Miles played by a nonbinary actor, Eliot Sumner. Maybe it's the slow burn pacing that doesn't really ramp up until the third episode, but drops all these little hints and insinuations at just the right times, so the lead-up never feels boring.
But the more I think about it, the more I'm sure that it's largely due to Andrew Scott as Tom Ripley. He's the only person onscreen for much of the running time, so we're intimately acquainted with his behaviors, his preferences, and his patterns of thought by the time his plans really start being put in motion. We watch him struggle with the Italian language, with the multiple guises and subterfuges he has in play, and finally with the unexpected challenges of more serious criminal activity. All his insecurities about himself are on display, and his failings are all too obvious. This Ripley is so inexperienced that he's frequently fumbling through nervewracking situations, which is sometimes funny and sometimes incredibly tense. Sometimes it's both. I love that Zaillian lets many of the long, long suspense sequences play out with no dialogue, because it's unnecessary.
I've been watching a lot of classic film noir lately, and this version of "The Talented Mr. Ripley" is taking its cues from the best. There's such a patience and a thoroughness to the depiction of a man that is neither patient nor thorough - at least not yet - and at times it almost feels like a critique on the work of a criminal by a more accomplished criminal. It's a little disturbing to realize how easy it is to root for someone who is utterly without scruples or remorse, and get invested in the success of their schemes. Of course, it's also very, very enjoyable to watch.
There are four other Tom Ripley novels, and I very much want to see them adapted by the "Ripley" team with Scott returning. I want to see how his performance as Tom Ripley is going to evolve over time, and where else it could go. This is the best thing that Netflix has made in a while, and it's frustrating that it hasn't gotten nearly as much attention as it should have.
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