a thriller set on the visually luscious Amalfi Coast, in Rome, and finally in a Venetian palazzo. In both 1960’sdirected by Anthony Minghella and starring Matt Damon and Jude Law, the story has been a showcase for beautiful young actors, tanned and occasionally shirtless in sexually ambiguous situations.
From the moment Ripley clubs Dickie with that oar, his romance with objects also becomes a kind of war. Refreshingly,isn’t one of those stories of a brilliant criminal expertly managing and concealing his deeds. The series is committed to depicting the sheer physical difficulty of disposing of a corpse and a bloodstained boat. Later, when Ripley must commit another murder to hide the first one, the job of covering it up is even more arduous and the mess harder to clean.
But how talented is Ripley, really? Zaillian echoes Highsmith’s suggestion that Ripley’s taste elevates him above his victims, and taste, after all, is a heightened appreciation of things. The series takes this idea further by having Ripley respond to Caravaggio’s paintings with a nearly spiritual veneration. In the final episodes, the series cuts to scenes from the painter’s life; he, too,, and most likely a lover of men and boys.
Or maybe that’s just something Ripley tells himself, that he is a superior being to whom the usual rules do not apply. By toning down the glamour in his mesmerizing adaptation, Zaillian heightens these unsettling questions. His is the darkest Ripley yet, lonelier and darker even than Highsmith’s, and deeper,
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