RIPLEY: THE NETFLIX SERIES

I've always been fascinated by the fact the first two film versions to feature this very American character, created by an American novelist, were made in French, then German, with a 45 year lapse between Patricia Highsmith's novel and the first English language film. Even then, it was made not by an American, but a Brit. Later films  would be made by Italian Canadian directors. 

Therefore, I couldn't wait to start Netflix' new series Ripley, - the first dramatization by an American director, and which comes (finally) almost 70 years after the novel hit the shelves. Of course, I've a lifelong obsession with the Ripley stories and was excited about seeing Andrew Scott's take on this most absorbing, complicated of sociopaths.  I've watched every film treatment of the stories, beginning with Dennis Hopper's Ripley in Wim Wenders Der Amerikanische Freund (1977) which also featured Bruno Ganz, and based upon Ripley's Game.  Alain Delon in Plein Soleil, was my 2nd Tom, and couldn't have been more different in character than Hopper was in the first story, but he was equally as affecting, disturbing and surprisingly (or not) sensual as Ripley.   I've never been a big fan of Matt Damon, but thought he was perfectly cast in Anthony Minghella's brilliant The Talented Mr. Ripley. Years later I'd e enjoy John Malkovich (who plays an important if small role in this current outing) and Barry Pepper.  I couldn't wait to see what Mr. Scott - whose work I've loved for years now - does with the role. 

Before it began, I stated I couldn't pick a favorite Tom Ripley, but, after a night of insomnia and eight straight hours of watching it, I can no longer say that. By opening up the story into an eight hour epic, Ripley is given time to expand in a way that was literally impossible in a standard length film.  Andrew Scott, an actor of impeccable skill, and a history of bringing "loner" characters to live was, without any doubt, the perfect choice. This is (to borrow one of Highsmith's titles) entirely Ripley's game.  Scott takes full advantage of the experience and within the first five minutes establishes Tom Ripley's character as a loner and something of an outcast, so solidly we sense what he's capable of, even before the story takes off on its wild Italian adventure. 

Involved and active in nearly every scene of the series and owning it, there is still room for some terrific characters and in Johnny Flynn's Dickie, Daktota Fanning's Marge, Maurizio Lombardi's Detective Ravini, and Margherita Buy's Signora Busi, we get some brilliant work. Throw in small, but effective turns by Kenneth Lonergan, Eliot Sumner, Bokeen Woodbine's PI, and the intensity is ratcheted up even more. Written and directed by Steven Zallian (The Night Of, Searching for Bobby Fischer, All The King's Men) is an actor's dream. The dialogue is crisp, direct and helps each character establish their voice, and he does this even with bit and cameo roles, a perfect example being a character written only as "Naples Kid"  who has only three scenes all of which last about two seconds, but help strengthen the movie.

This kind of detail extends to Robert Elswit's cinematography which, I'll just say right now, is perhaps the most breathtaking ever seen on.  Every shot establishes and anchors every single moment of the story brilliantly. Elswit takes advantage of the architecture, the light, the statues, the sea, the animals in such a way every frame could be seen as "frameable."  Literally, every element, especially the statues and works of Caravaggio (as well as his story) work their way into powerful, symbolic features that move every second of this along. 

The same holds through for the soundtrack with Jeff Russo's stunning score punctuated through with Pergolisi's Stabat Mater, 12th century plainchant, Donizetti, Mozart, Sinéad O'Connor, Shostakovich and 50's Italian pop.  

I'm always interested in reading reviews after I've fallen in love with something and rarely surprised to see critical and audience reactions wildly different than my own. Even having just been released, reception is split down the middle between the "Loved It" and "Hated It" camps. . Variety, The NY TImes, and other major players all say much the same: Zallion over inflates the story to operatic lengths . . . sucks the life from the story . . .  zaps the energy out of Tom's character, etc. the TImes critic went so far as to share how how pretentious he found it all and ending his review yelling, "Auteur! Auteur!"  Isn't he clever and funny? (No.). 

I hate calling them idiots, but that's all I can do with viewers complaining Scott isn't "as cute" or "as likeable" as Matt Damon." Other online critiques refer to Ripley as "another unnecessary remake - and a terrible one at that." My favorite has to be this one I saw on YouTube:

Zallion entirely misses the mark . . . Andrew Scott is too much of a sociopath that it's unbelievable the ancillary characters would ever have him around - there is no chemistry between this Tom and Dickey, so why would Dickey want him to stay . . . Dakota Fanning lacks the classiness Gwyneth Paltrow had as Marge . .. . spreading it out over eight episodes doesn't intensity it as some claim, it slows and stops the story, and strips it of its personality. All style and no substance. 

I couldn't help but laugh a little . . . okay a lot, reading these inane points of view. I can  get not liking something, but because a star playing a murderous sociopath isn't "as cute" or "likeable" . just can't be taken seriously.

I'll be interested in reading what friends have to say. As for me, I'm ready to take another eight hour trip to Italy!