“RIPLEY” is a semi-recently released Netflix series based on the Patricia Highsmith novel The Talented Mr. Ripley, which was previously adapted in the acclaimed 1999 Matt Damon film. Andrew Scott takes over as conman turned murderer Tom Ripley in this television version from writer/director of all 8 episodes Steven Zaillian, the acclaimed screenwriter behind “Schindler’s List,” “The Irishman,” and other extraordinary titles. With all the talent in front of and behind the camera, “RIPLEY” is a relentlessly engrossing and thought-provoking series, one of the best I’ve seen in the past few years.
The series follows mysterious conman Tom Ripley, who is introduced to us as a struggling scam artist in New York City. When the wealthy industrialist Herbert Greenleaf mistakes Ripley as a college friend of his spoiled son Dickie, who’s residing in Italy using his trust fund to relax and get away from home, he pays Ripley to travel to Italy to bring Dickie back home. Ripley subsequently accepts and upon meeting Dickie in Italy, he decides to manipulate and eventually take on the identity of the man, leading to lies, murders, and a cat-and-mouse chase.
Right off the bat, the most noticeable trait of the series is Robert Elswit’s breathtaking black & white cinematography. The noir vibe of the story is perfectly emulated through the deep contrasts and intricate lighting that create a sinister yet somehow elegant undertone to the series. The stunning visuals never get distracting, however, as the camera is almost always still and Elswit knows just where to place it in relation to the characters so that you’re always sucked into the story.
Steven Zaillian’s brilliant direction enhances the wonderful photography, bringing a quiet and eerie style to the entire project. He uses minimal music and intricate sound design to bring out the necessary tension in a non-flashy manner. Speaking of the tension, “RIPLEY” has some of the most nail-biting sequences in the history of television. Zaillian purposefully lets the two central murder scenes play out in real time with ultra-realism. He really wants to explore every mechanic of murder, not just the act of killing itself but the aftermath. How do you dispose the body without a hint of evidence? How do you avoid raising suspicion with nosy neighbors? Ripley is always making mistakes here, ones that are incredibly believable, heightening the tension and amplifying the fly-on-the-wall feel.
The first murder scene is 25 minutes and the second is 32 minutes, taking up half of or the majority of their respective episodes. Zaillian allows for so much breathing room to get you inside the headspace of an inexperienced killer who’s figuring it out as he goes along, often through trial and error. More than any other piece of fiction I’ve seen or read, “RIPLEY” encapsulates and drills into the viewer just how nerve-racking and challenging murder is. In most films and shows we take deaths for granted. Someone is shot and we move on, not considering the fallout or the steps needed to dispose of the evidence. Some media like “Breaking Bad” does emphasize this to be fair, but not in real time or in such a stylistically minimalist fashion. Without any dialogue in the first murder and only a couple lines in the second murder, we depend on visuals and facial gestures to see Ripley’s thought process, which is brilliantly evident through the meticulous writing and direction, as well as the methodical pace of the entire series and Scott’s pitch-perfect performance.
In regards to the pacing, “RIPLEY” is a proud slow burn. Every move taken by Ripley is given enough screen time for us to see the build-up, the decision-making, the complicated execution, and the (messy) results. Zaillian sticks to this without compromise, dedicating extensive screen time just to Ripley walking up a massive flight of stairs. The show really takes its time, and some may struggle with that. However, that’s one of the greatest strengths of the series in my opinion, as it allows for you to thoroughly get inside the lead’s head to an extent you simply wouldn’t have with more conventional pacing. I also found my brain adjusting to the pace and becoming completely accustomed to it to the point where I no longer noticed the meditative progression. The immaculate visuals and genius screenwriting/directing from Zaillian are absolutely hypnotic.
We haven’t talked about the man himself yet, Andrew Scott as Tom Ripley. What a masterclass. He’s able to make this ultimately psychotic person relentlessly likable. You can’t help but root for him despite his inexcusable and selfish actions which ruin or end the lives of others, often humiliating his victims after their demise. There’s something about his smooth voice and gravitas that make him oddly soothing. He’s just so easy to watch. Yet make no mistake, his performance holds nothing back in regards to the creep factor. Scott’s elegant movements and cold, lifeless eyes make for a slimy psychopath. Throughout the whole series you can just tell the man is instinctively manipulative and devoid of empathy. There are always gears turning and never any true emotions emulating. Scott, in all his brilliance, accomplishes this with the utmost subtlety. He doesn’t do anything bombastic; no crying, no screaming, no hyperventilating, no laughing. It’s all in the eyes, body language, and vocal register.
“RIPLEY” certainly isn’t the most accessible interpretation of Patricia Highsmith’s classic novel. The pacing is extremely methodical, just like the central character (or at least how he tries to be), and it relies on the audience to be patient and intelligent. Plus its black & white cinematography is sure to put off potential viewers. But if you give it a chance, the series will absolutely envelop you and absorb you into the gloriously cruel noir. I adored it.
A
Another amazing review, makes me want to start watching this series.