Ripley - Review

Rating: 5 out of 5

QUENTIN Tarantino recently (and notoriously) said he refused to watch Ripley as part of his lament about remake culture (which also included Shogun).

His opinion was that he couldn’t see the point in watching because the story was too well known. In Ripley’s case, Patricia Highsmith’s character had previously (and successfully) been turned into the Anthony Minghella classic The Talented and Ripley in a 1999 film starring Matt Damon, Jude Law and Gwyneth Paltrow.

Casting aside the fact that few people lament the endless remakes of Shakespeare, Tarantino’s comments feel somewhat misguided when considering both Ripley and Shogun.

In Ripley’s case, the pedigree is considerable. This latest take is written and directed by Steven Zaillian, whose CV includes the likes of HBO’s The Night Of and Oscar nominee Moneyball.

Its leading man is Andrew Scott, riding high off the acclaim surrounding the excellent All Of Us Strangers, and the supporting cast includes Dakota Fanning (in the Paltrow role), Johnny Flynn (bringing to life Law’s Richard ‘Dickie’ Greenleaf) and, waiting in the wings to provide a suitably nimble minded adversary, Maurizio Lombardi, quite brilliant as the dogged Inspector Ravini.

What’s more, it boasts a fiercely distinct look, having been shot entirely in black and white. It’s often breathtaking to look at, with so many frames composed as works of monochrome art. True, those that know and love many of its Italian locations may lament the chance to see it in all of its rich, colourful glory.

But Zaillian’s decision to shoot in such an eye-catching style lends it an element of class that, just on its own, brings a fresh sense of perspective; a classic look for a series that boasts a very modern vibe.

Where Minghella’s film also unfolded over 2hrs and 20mins, Zaillian’s take unfurls over roughly eight hours, thereby offering the opportunity to take a deep dive into its central character. And yet, Ripley himself remains an intriguing enigma: by turns an everyman of limited means, yet also someone who is ruthlessly calculated in his ability to commit fraud, to steal and to murder.

He is also as creepy as he is likeable - an odd mix to pull off. But one that Scott - in a performance far removed from Damon’s - effortlessly pulls off.

If there is a flaw, it’s that the relationship between Ripley and Greenleaf isn’t as convincing as it was in Minghella’s version: Flynn’s Dickie seems alert to Ripley’s oddness (not least once he catches him wearing his clothes), yet accepts him anyway. It’s a decision that doesn’t convince entirely, as opposed to Law’s more playful indulgence of Damon’s incarnation, which seemed more believable.

Here, we’re asked to question motivations a little more keenly. Why is Ripley indulged to the point where he could take over? It’s a point not lost on Dakota Fanning’s writer Marge, who gets the measure of Ripley almost immediately. Or Eliot Sumner’s ill-fated Freddie.

Both work overtime to keep Ripley on his toes, the scenes between those actors and Scott brimming with unspoken feeling and mistrust.

If anything, the battle of wits between Ripley and his persecutors/pursuers plays out like a tactical game of chess - a decision that makes Zaillian’s choice of black and white all the more pronounced. Or is it that Zaillian also enjoys questioning the morality (or sometimes lack thereof) on display: there are no easy black and whites. It’s a moral grey.

Affluence and class is on trial here, it feels, as much as integrity and criminal intent.

The period setting also allows room for Zaillian to play, as Ripley makes the most of the tools afforded to him by the lack of forensic expertise and the somewhat lackadaisical approach of the Italian authorities. Indeed, Zaillian perfectly captures Italian life: whether it’s the style, the attitudes or the lifestyle… not to mention his breathtaking use of location. As mentioned, the black and white shooting style may not ultimately be to everyone’s taste - but Rome, Atrani and Venice possess a seductive, almost luminous quality.

Kudos, too, for Zaillian’s use of humour, some of which is subtle and knowing, and some of which assumes an almost absurdist quality, especially as Ripley contrives to hide his crimes with an ineptitude that sometimes borders on the farcical.

Scott doesn’t overplay the ineptitude, allowing the events to simply unfold around him. But this adds to the magic of his performance: there are times you find yourself rooting for him in spite of his cold bloodedness. At others, such as when interacting with Marge or the Inspector, you’ll long for him to be caught.

And yet, Scott is canny enough to always leave you wanting more… if only to understand what makes him tick, to allow him that odd slice of happiness he has manipulated, betrayed and murdered his way to earn. It’s a portrayal for the ages: one that explains why Highsmith’s character remains so ripe for revisiting.

And while the pacing is leisurely, especially early on, Zaillian’s skill as both writer and director is to build foundations from which he can deliver a strong sense of character, time and place… while offering plenty to think about within a contemporary context (surrounding attitude to wealth, class and sexuality).

Ripley is evidence of a creative team at the very top of their craft. It’s mesmerising - right until the very final, impeccably delivered scene. It is a masterwork of out and out class.