Chris Connor reviews Netflix’s Ripley…
Patricia Highsmith’s Ripley series of novels written between 1955 and 1991 have been adapted for film numerous times. The Talented Mr. Ripley has twice been adapted with Purple Noon in 1960 and a film using the book’s title in 1999. Ripley’s Game has also been adapted twice by Wim Wenders as The American Friend and under its original title with John Malkovich. Anticipation is high for the latest take on the first novel as a series for Netflix from The Night Of creator and Schindler’s List writer Steven Zaillian, who has written and directed all eight episodes.
The premise remains the same as the original text and film, Ripley here played by Fleabag and All of Us Strangers’ Andrew Scott, is a low-profile conman trying to keep his head above water when the dream gig comes his way. He is to travel to the Italian Riviera to check in on the affluent Greenleaf family’s son Dickie who seemingly has no desire to return home to New York. This leads to a tale of obsession as Ripley becomes infatuated by the idea of Dickie and his lavish, carefree Italian lifestyle. Obviously, the core story is well known but to avoid revealing too much for newcomers, Ripley has more than a few run-ins with the law in somewhat of a cat-and-mouse race across Italy.
One of the biggest issues with this latest take on the novel is its length, the show simply doesn’t need to be eight episodes, especially when they are all pushing the hour mark with the final episode going well over. This leads to moments of repetition and gives the investigation into Ripley more backstory, which initially feels welcome but ultimately feels like padding. At 252 pages, Highsmith’s novel is too slight to warrant eight hours, especially when Anthony Minghella did such a precise job with just over 2.
The film has earned rave reviews for Damon, Gwyneth Paltrow and Jude Law’s performances and Scott, Johnny Flynn and Dakota Fanning are perfectly serviceable but can’t leave an impact in quite the same way. Cleverly to allow for its casting the character’s ages aren’t as much of a key point, allowing for an older take on the character and for it to not diminish too much.
There are attempts stylistically to differentiate from other takes on the story, most obvious is choosing to shoot in black & white. This offers it an oppressive, haunting feel that makes it feel like something from the early 60s era it is is set but adding an extra almost noir feel, that feels fitting for Highsmith’s source material. It is a stylish and gorgeous visual adaptation, moody and full of lingering shots that capture the beauty of the Italian coastline and cityscapes.
It is a faithful adaptation which in part leads to some problems, why did we need another take on a book that has been twice adapted before? With five books in the series there could certainly have been an effort to incorporate elements from the later books that have rarely been glimpsed on screen. There are hints towards the end of events from Ripley Under Ground but with the story of The Talented Mr. Ripley so well known, this feels like a missed opportunity.
Ripley is certainly not without its merits but there is little make this the definitive take on such an iconic story. Andrew Scott is committed as Ripley but feels less charming than Damon’s take. Starting with a later book in the series would perhaps have been the best approach as the end result is a gorgeous, impeccably crafted piece that struggles to justify its existence, its unclear if there will be further adaptations but safe to say this take on the iconic character doesn’t outshine its predecessors.
Chris Connor
