Ripley
When The Talented Mr. Ripley came out in 1999 it was a national obsession. I don't know how best to put it but that it took over everyone like some weird Italian Jazz fever. Everyone had the soundtrack. It became the soundtrack of our lives, like Trainspotting in 1996 or Rushmore in 1998 or Garden State in 2004. There was no escape. You were going to listen to Jude Law and Matt Damon sing "Tu Vuo' Fa L'Americano" and you were going to like it! In my house the obsession obviously went the literary route with my mother asking for all the Patricia Highsmith Ripley books for Christmas, which was a tall order because bookstores couldn't keep them on the shelves. But this was something I could totally get behind. Because, for me, I just didn't like the film. It was too many big names trying to be edgy and independent and it just felt false. I didn't buy into the conceit that Matt Damon was a genius of deception and could get away with all this. Jason Bourne yes, Tom Ripley no. Which is why when they announced they were making a miniseries starring Andrew Scott I got beyond excited. Kermit flailing his little froggy arms and running around the house to tell everyone excited. Because if there's one actor I love out there who is magnificent in everything it's Andrew Scott. What's more, his portrayal of Jim Moriarty on Sherlock showed just how menacing he can be with just a look. How his emotions can turn on a dime. How he can go from loveable goof to imminent threat in the span of a heartbeat. Andrew Scott is a chameleon, as is Tom Ripley. He was born to play this role. So I had no doubt Andrew Scott could deliver. I just didn't expect it to be as magnificent as it is. This is as far from the 1999 film as it is possible to be. Going back to the noir roots of the novel and filming the entire miniseries in black and white except for one very deliberate and perfect splash of red, I love you Lucio! The choice to film it in black and white might have been what made Showtime balk but just to Netflix's gain. This show, not even taking into account the magnificent pacing and acting, might be the most beautiful show I have ever watched. The crystalline detail of Italy. The pores in each hewn rock step. The amazing depth of field. I couldn't believe this kind of mastery of detail and light and dark could exist and immediately looked up the director and the cinematographer. Well, they're both Oscar winners if you were wondering, Steven Zaillian having written Schindler's List, and therefore making that pop of red make so much sense. I've often looked at old books of Italian masterpieces and the black and white reproductions of pictures and been confused, because I never thought they did the work justice. But it was the fault of the book not the art, because not only is every frame of this a work of art, but the art itself is masterful. You get a different appreciation for it without the color to distract from form. If you don't believe me look to the third episode, "III Sommerso." This episode details Tom and Dickie's trip to Sanremo where out on the water Tom kills Dickie. This entire episode is almost completely shot in the boat and has virtually no dialogue. Yet even second is tight. It's so taut that you feel yourself holding your breath. For forty-nine minutes you are on the edge of your seat and yet it feels like it's no time at all. Or possibly forever. And that's how long this show will stay with me. Forever. Though I wouldn't be adverse to another season or four... They did a bit of setup for the next book in the most meta of fashions...
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