(2024, 450 min)
Country: U.S.
Director: Steven Zaillian
Studio: Netflix
Language: English
SYNOPSIS: In late 1950s New York, Tom Ripley, a down-at-heel con-man, is hired by a wealthy man to convince his prodigal son to return home from Italy. But Tom's introduction to Dickie Greenleaf's comfortable and leisurely life abroad turns out to be "the first step into a complex life of deceit, fraud and murder".
REVIEW:
In 1960s New York City, petty con artist Tom Ripley is approached by wealthy shipbuilder Herbert Greenleaf, who mistakes him for a friend of his spoiled son, Dickie. Herbert pays Tom to go to Italy to convince Dickie to return home after years abroad, supposedly writing and painting. Tom goes to Atrani, where he meets Dickie and his girlfriend, Marge, who is writing a travel book about Atrani. Tom becomes enamored with the handsome Dickie and his carefree lifestyle.
Tom confesses to Dickie about his father's scheme. Dickie is taken in by Tom's supposed honesty and invites him to stay at his villa. Dickie and Tom meet Freddie Miles, a wealthy playwright who is suspicious of Tom; Freddie proposes that Dickie and Marge come spend Christmas with him skiing in Cortina. Tom writes to Herbert and asks for more funds. Dickie walks in on Tom dressed-up in his clothes. Dickie thinks Tom is infatuated with him, though Tom denies it.
Tom receives a letter from Herbert, informing him that his attempts to persuade Dickie to return have been a failure. Dickie also receives a letter from his father telling him to be wary of Tom. Dickie offers to take Tom on a trip to Sanremo. They rent a small boat, where Dickie tells him that he and Marge are going to spend Christmas with Freddie in Cortina d'Ampezzo without him. Tom beats Dickie to death with an oar and dumps his body tied to the anchor. Wearing Dickie's ring, he leaves San Remo.
Tom returns to Atrani and collects Dickie's personal effects, claiming that Dickie is in now in Rome. Marge is unconvinced. Tom sells some of Dickie's valuables and approaches Carlo about selling Dickie's boat. In Rome, Tom assumes Dickie's identity and begins living his privileged life
Tom takes an apartment in Rome and lives off Dickie's money, sending letters to create the illusion Dickie is still alive. Freddie, tracking Dickie, arrives unexpectedly at the apartment and uncovers Tom's scheme. He confronts Tom about being a petty criminal in New York. As Freddie tries to leave, Tom bludgeons him to death with an ashtray. He abandons Freddie's body in his Fiat and throws away his identity documents.
The police discover Freddie's body and launch a murder inquiry into the death of the Englishman. The murder makes front page news and Dickie is listed as a witness. Inspector Ravini questions Tom–who he believes to be Dickie–after a tip from Freddie's lover, Max Yoder. Meanwhile, in San Remo, the partially burned, blood-stained boat is discovered, which leads back to Dickie and Tom. In Atrani, Marge discovers that Dickie's boat was sold and reads about Freddie's death. She goes to Rome to seek answers, but Tom insists that Dickie has left. Tom leaves for Palermo.
Inspector Ravini continues to investigate the case and searches Rome for Tom Ripley, whom he suspects may have been killed by Dickie in San Remo. He believes Marge lied to him when she told him she saw Tom in Rome. Dickie's bank contacts Ravini over a signature mismatch on Dickie's monthly trust payout. Tom resolves the matter with a letter, which convinces the bank there was no fraud. The newspapers report that Tom Ripley is missing and his disappearance possibly connected to Freddie's murder. Tom leaves again, this time for Venice.
Tom rents a palazzo in Venice under his real name and informs the Venetian police he is alive. He successfully disguises himself when Ravini arrives to interview him. Tom is welcomed by Venice's high society, curious about Dickie, who is dubbed the "fugitive playboy" by the press. Marge arrives and they attend a party together thrown by Pegeen Guggenheim. Herbert arrives in Italy and accepts the story that a despondent Dickie, depressed over his failure as an artist and involved in Freddie's death, took his own life. Marge sends a copy of her book about Atrani to Ravini, who is shocked when he sees her photo of the real Dickie Greenleaf.
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If Netflix’s Ripley proves anything, it is that Andrew Scott is a force to be reckoned with. If you missed the Irish actor as the scene-stealing, disco-loving Moriarty in Sherlock, as the knee-weakening priest in Fleabag, or in his underappreciated turn in All of Us Strangers, Netflix has been kind enough to provide yet another spectacle in which Scott can dazzle. This time around, he takes on the role of iconic swindler Tom Ripley.
This adaptation of Patricia Highsmith’s The Talented Mr. Ripley is a more foreboding retelling than were previous efforts. Set in the 1960s, Ripley is barely getting by in New York as a scam artist when the father of an old acquaintance engages his services, asking that he try to convince his frivolous son Dickie Greenleaf (Johnny Flynn) to return home from Italy. Little does he realize the danger he has placed in his son’s path as Ripley sets up shop in Dickie’s life. Imagine IRL swindlers Anna Delvey or Billy McFarland, if they operated on bloodlust instead of Twitter.
Through a meticulous execution of the material, series creator Steven Zaillian gives Ripley the noir treatment the story so richly deserves. Scott slips into the role of Ripley effortlessly and is particularly skillful as he interacts with his prey, Dickie. Flynn’s portrayal as the charismatic man-child is mesmerizing, highlighting everything Ripley is not: jovial, vivacious, and native to the privileged class Ripley so desperately wants to join. Additional players Dakota Fanning and Eliot Sumner are formidable as Ripley’s adversaries, going head-to-head with the monster when Dickie goes missing.
With all eight episodes scripted and directed by Zaillian, almost every scene is framed as if it were wall-worthy of the Guggenheim. Shot in black and white, the starkness removes any sense of light or hope that a cheery Italian beachfront might provide, while adding a sense of timelessness to the content.
In Ripley, Zaillian creates high art from thriller noir. The depth of the performances blends with the artistry of the direction and cinematography to allow the story to shine. Scott’s take on the low-key sociopath adds a level of menace that is truly terrifying, highlighted by Flynn’s understated and savvy performance. The overall effect has viewers on the edge of their seats, even if they know how the story ends.
-- Reviewed By Erin Maxwell, LA Weekly (http://laweekly.com)
