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Rating: Only when, in a work of art, the junction point between the Apollonian element and the Dionysian one is traced, can you say you are facing a masterpiece. Starting from these categories so dear to Nietzsche's philosophy, the artistic result (book, record, painting, etc.) is appreciated.
In the case reviewed here, a noir novel such as "The American Friend" by Patricia Highsmith (from which two good films were made by Wenders first, and then Cavani) captures the reader not only for the dense plot typical of a so-called detective novel, but also for the scale of an existential dilemma that affects the protagonist and can lead us to ask ourselves: "If I were in that circumstance, what would I do?"
Highsmith, one of the leading figures in literature not only of the American Twentieth Century, but of the Twentieth Century tout court, here resumes following the actions of her recurring character, namely the American Tom Ripley. Owner of an art gallery in London and decidedly wealthy, he is marked by an ethical level that is not exactly pristine, since he admits to detesting killing unless it is strictly necessary.
One day, he receives a call from a Yankee friend and partner in not-so-clear business in Hamburg, a well-known commercial city in Germany. The partner complains that some mafiosi are infiltrating there, wanting to do dirty business, ruining the trade traffic circle. It would be appropriate, therefore, for someone to carry out some murders to get rid of them and that someone preferably should be a stranger to the Hamburg environment. Would Tom Ripley possibly be willing to handle it himself? The latter, although not a saint, declines the offer but assures the partner that he will try to pass the idea on to someone else he knows. Besides, the assignment would be generously paid with something like 96,000 dollars (a very tempting and devilish contract...).
And as it happens, in the Fontainebleau area where the wealthy Tom Ripley resides, there is a certain Jonathan Trevanny, owner of a framing shop, who could be the right man because, as is rumored in the French provincial town, he is unfortunately suffering from a form of myeloid leukemia and would not have many months to live. It's true that presenting him with such an extra work offer is at least bizarre, but try to imagine how a person so honest, but aware of not having much time left, can be internally tormented. After all, it would be about eliminating notoriously mean mafiosi and for this receive a nice sum to then leave to his family, thus ensuring them a more than decent life.
I won't specify the developments of the story, because the reading of the novel is so gripping that it keeps you glued to the last line of the last page. Obviously, it won't all be easy, and the developments will be very tragic, and Patricia Highsmith knows how to handle explosive subjects such as the subtle allure of murder, the difficulty of making thorny ethical choices, the relativity inherent in each of our existences. And all with an airy and not at all pedantic prose (it is not a variation on the theme of "Crime and Punishment" by Dostoevsky, in the story described by Highsmith the murderer overcomes his pre-murder doubts and later gets caught in a whirlpool of actions bigger than him, he thus no longer has time to writhe in repentance).
It is certainly evident that clashing with the mafia means facing not four chicken thieves, but a real clandestine army that acts on behalf of a society branched into international crime. And subsequent troubles won't fail, so much so that the reader sympathizes and cheers for those who have embarked on a truly difficult mission. And it may spontaneously arise the question of what to do, in place of framer Trevanny, a fundamentally honest and unfortunately sick man, whether to commit a murder against mafia thugs for payment, or to refrain from doing so.
Indeed, asking ourselves the above in the Italian context can reassure that there are law enforcement officers and legal guardians (as magistrates Falcone and Borsellino were) who provide to fight mafia and various criminal associations. It's a pity that, a few months ago, the arrest of a mafia boss like Matteo Messina Denaro happened after he had been untraceable for more than 30 years of fugitive status in Sicily itself. Did no one know or see? And then doubts arise for me and I don't feel like judging severely the choices made by the protagonist of "The American Friend."
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