To desire something is legitimate, to seek to obtain it also does not upset the harmony of things, but to want something and seek to obtain it by any means is an incurable disease. We feed on our desires and when we are not satisfied, we eat what is around us.
“Ripley” on Netflix brings Patricia Highsmith’s iconic character to life in an exciting and stylish series that takes us on a thrilling journey through 1960s New York. The narrative centers around Tom Ripley, a charming yet cunning con artist who finds himself entangled in a complex web of deception, manipulation and murder.
But let’s take things from the beginning. Shipbuilding tycoon Herbert Greenleaf pays Tom Ripley handsomely to go to Italy and convince his son Dickie – a man synonymous with good life and who knows how to live life in all its pleasures, soak up the comforts and accompanied by all kinds of good times – to return to New York and take over the family business – colossus. As Ripley arrives in Italy, he quickly becomes embroiled in the luxurious and hedonistic lifestyle of Dickie and his circle of friends. However, beneath the surface of wealth and privilege lurks a dark undercurrent of jealousy, obsession and deception.
Ripley’s original mission becomes increasingly complicated as she falls for Dickie and becomes jealous of his carefree life. Dickie is a charming, somewhat naive but cultured young man. He invites his new boyfriend to stay with him in the villa he has rented and together they travel to Naples and Rome. But Ripley is not satisfied with the rich life and the carefree situation that is laid around him, he unexpectedly becomes obsessed with Dickie himself. Driven by his desire for acceptance and admiration, Ripley begins manipulating and scheming to gain entry into Dickie’s inner circle, weaving a complex web of lies and deceit to maintain his facade. However, as Ripley’s obsession with Dickie deepens, tensions rise and the lines between truth and fiction blur. When Dickie grows tired of Ripley, his bad taste and his company, Ripley has no intention of giving up and losing the unexpected perks and dream benefits, so he takes action.
The series convincingly explores issues of identity, morality and the limits to which one can reach in order to achieve one’s desires. As Ripley’s actions become increasingly desperate and ruthless, the series delves into the depths of his psyche, revealing the complexity of his character and the darkness that lurks within.
The story develops and gradually we are led on an exciting and exciting journey, full of unexpected twists. From the glittering streets of Italy to the gloomy alleys of New York, the series paints a vivid and riveting portrait of a man willing to do anything to fulfill his desires, even if it means sacrificing his morals and whatever else gets in the way of his prescribed course.
Andrew Scott, the show’s star, said of his role, “You’re not playing with the opinions, the preconceptions that people might have regarding Tom Ripley. You have to throw them all away, try not to listen to them and say, “Okay, well, I have to have the courage to create our own version and my own understanding of the character.”
The creator of the series is the screenwriter Steven Zeilian (“Schindler’s List”, “Gangs of New York”, “The Irishman”, among others), who also writes and directs the series, he captures Italy with poetic flair of our desires, the Italy of the great architects, the great sculptures of the Bridge of Angels and the chiaroscuro shadings of the paintings of Michelangelo Merisi da Caravaggio. In the enchanting black and white world of the “Ripley” series, aesthetics transcend mere visual spectacle, weaving a narrative of haunting elegance and intrigue. As if lifted from the canvas of a Renaissance master, each frame brings to life Patricia Highsmith’s enigmatic universe, where morality dances with shadows and characters slip through a dreamscape of moral ambiguity. The director of photography of the series Robert Ellswit, partner of Paul Thomas Anderson (“There Will Be Blood”, “Boogie Nights”, “Magnolia”), is a worthy supporter of the director, in the black and white visual approach of the terrible Mr. “Ripley”. Daily Mail television critic Christopher Stephens commented on the film, writing “This isn’t just TV, it’s an homage to great directors of the 1940s like Carol Reed or Alfred Hitchcock.”
Steven Zailian’s deft pen, in harmony with his visionary direction, creates a symphony of subtle nuances in the progression of the story and intelligent performance of the characters. The careful rhythm, like a slow waltz, allows the moments to remain as memories, etched in our memory. A slow pace is desirable. We have no need for things to happen, we don’t want climaxes and twists. We desperately want this elegy of black and white and desire, elegance and restlessness to last as long as possible. We want the play of light and shadow to lengthen, reminiscent of classic film noir and add depth to the characters’ moral dilemmas, blurring the lines between protagonist and antagonist in a ballet of psychological intrigue and spiritual exhilaration.
At its core, Ripley is a drama that delves into the psyche of its complex protagonist, offering us a fascinating exploration of the fine line between right and wrong, truth and deception. With its tasteful cinematography, solid performances, and compelling storytelling, the series stands out as one of the best on Netflix right now.
Yet it is in the silence between words, the pauses and the lingering glances, that “Ripley” finds its true power. Like an elaborate poem, each scene is a stroke on the canvas of the mind, inviting introspection and exploration of the dark recesses of the human soul. Through Highsmith’s timeless narrative, the series becomes a meditation on identity, desire, and the masks we wear to navigate the complexities of existence. In the end, “Ripley” goes beyond mere entertainment and emerges as a work of art in its purest form. It’s a testament to the power of storytelling, where aesthetics converge with intellect to create an experience that resonates long following the end credits.
Ripley knows that the greatest pleasure is not the consumption of desire but the greatest pleasure is the touch of desire, the approach of pleasure. As he also knows that our desires are vague snapshots of the “to come” of our lives.
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