Remaking established properties under a new vision is common in Hollywood. However, seeing a beloved modern classic get that treatment so quickly has become a problem for many stories. Despite The Talented Mr. Ripley only reaching its 25th anniversary this year, Steve Zaillian adapts Patricia Highsmith’s novel once again. Netflix’s new series, simply titled Ripley, follows the plot of the novel in more detail. Gone are the sun-soaked villas of Italy in favor of sterilized black-and-white photography. The slow and methodical series dips into the exacting and careful actions of a psychopath. Andrew Scott’s Tom is not fun. Instead, he’s a calculating murderer and destroyer. The result is a very different, but rewarding take on the iconic character.

Ripley The Plot

Set in the 1960s, Thomas Ripley (Scott) finds himself without money and struggling to stay ahead of the law. When the Greenleaf family approaches Tom to help them bring their son Dickie (Johnny Flynn) home from Europe, Ripley’s hesitant at first. However, he accepts their offer and travels to a small Italian village. There, he meets Dickie, Marge (Dakota Fanning), and Freddie Miles (Eliot Sumner). The four become intertwined as Tom squeezes his way into Dickie’s life. However, the tension eventually breaks, leading to disastrous consequences.

The Critique

Zaillian approaches the material with an eye for the smallest details. He consistently layers the story to throw red herrings and minute details at the audience. It adds tension, even as Ripley attempts to maintain his con man bonafides. However, it quickly becomes clear that Tom is just as lucky as he is talented. There’s danger approaching him at every turn, yet he plays it cool. Tom knows how dangerous the situation has become, yet his confidence in this era allows him to rise in high society.

Most of the discussion of Ripley will revolve around Scott and his collected performance. He brings longing into his early scenes opposite Flynn, but this is not a portrait of love. The anxiety and calculations begin early in the story, and his willingness to chameleon his way into Dickie’s life is far more unnerving than previous interpretations. This Ripley is a viper, and Scott silently slithers into your mind long after the show has ended. It’s a new shade for the actor that broke our hearts last Fall and once again proves why he’s one of our best actors.

Both Flynn and Fanning shine in their time as well. Flynn does not live up to the high charisma of Law’s Oscar-nominated performance. Instead, he imbues Dickie with a depression and unawareness that makes him obvious prey. The naivete does wonders for the character and helps shift the story into more of a tragedy. Meanwhile, Fanning plays Marge in the vein of a 1950s movie star. It’s an outstanding performance from the prodigy who has been choosier in her roles of late. A role like Ripley is somewhat limited because of Marge’s role in the story, but her portrayal helps the second half of the series stick the landing.

This androgynous version of Freddie, portrayed by Sumner, sparks interesting new dynamics in the show. Sumner plays Freddie as brash and direct, but they never overstay their welcome. They will be a new presence on screen for most audiences, and because of that, they can take a big swing other performers cannot. As we watch them try to sus out the lies in Ripley’s story, Sumner plays into the distrust of the situation. However, Zaillian’s use of a non-binary actor makes it easier for the police to bring homophobia into their accusations. Scott further plays up this dynamic in a few interviews with police investigator Ravini (Maurizio Lombardi), which further sends the police down the wrong path.

The choice to embrace this element of the story speaks to a time in Europe when being queer was met with acceptance in some circles and derision in others. Just a decade earlier was the time of Alan Turing and “Obscenity Laws,” even in countries like Italy. This allows Zaillian to show skilled police officers following their hunches while also highlighting their blind spots due to prejudice. It’s a delicate balance and ultimately makes for a thrilling second side to Ripley.

At the same time, he makes Tom an outsider rising through the ranks. Tom does not have great taste and, in fact, often becomes the subject of mockery for it. Yet despite these flaws, he sees a bigger picture while those with money become his victims. As the aristocracy struggles to maintain control, new countercultural movements would upset the apple cart worldwide. Tom’s rise is every bit a commentary of the old world falling victim to the more ambitious, less rule-bound youth.

It’s also impossible to ignore how gorgeous Ripley is as an art piece. The visuals are gorgeous. Robert Elswit shoots the show, and its another example of why he’s one of the great cinematographers today. The production design and framing make every scene feel timeless. It also adds to the themes of Highsmith’s stories, forcing the world to take on its gray areas in a very literal sense. Zaillain also prepares the audience for the much darker tone of the story while featuring some color-based humor (a Magenta versus burgundy shirt joke comes up a few times). Few television products look this good, and Ripley is a soaring visual achievement.

Conclusion

While billed as a limited series, there’s plenty of space for Ripley to return if Netflix decides they want more. This unique and dark take on the material will work for many. At the same time, those who love the 1999 film may feel put out by its darker tone. Regardless, Zaillian finds a new avenue for Highsmith’s iconic character and hopefully gets a chance to further explore his vision.

8/10

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