Steven Zaillian
Ripley

LA RECENSIONE

Generally, I don't like series. I find them essentially indigestible in the new style of scriptwriting and photography, which makes them unbearable to me. This Ripley is something different. Despite the Netflix production, I love it. In the photography, in the direction, in the screenplay.

Originally, there was a novel, "The Talented Mr. Ripley," by Patricia Highsmith.
Then came an excellent "Plein Soleil" by René Clément, 1960, with an Alain Delon in great form, and finally a negligible "The Talented Mr. Ripley" by Anthony Minghella, 1999.

I wouldn’t dwell on the plot, somewhat already known due to previous adaptations, and which, in any case, is not the main strength of this series.

I dwell on the photography, an ostentatious, stubborn black and white, saturated with light plays, that is taken by the hand by Caravaggio at the beginning and guarded until the end.
Always black and white, for eight episodes, except for four seconds of cat paw prints.

I dwell on the screenplay, fantastically set from Atrani until halfway through the series, and then between Rome, Sanremo, and Venice.
The camera works excellently; as an Italian, I particularly appreciated the choice of the shots, all very significant.
I'm not sure about the effect they might have on those who don't know Italy; but they certainly play on strong evocativeness.
I dwell on the direction, excellent shots, expressions, details that are lingered upon and induce reflection.
I dwell on the soundtrack. Perfect. Will it be just as significant for the international audience?
Since it strikes me - as is evident from what I have written so far - that this is an absolutely American production (kudos to Zaillian), I would like to point out how the depictions of Italian characters are, with very few exceptions, positive ones.
Pleasant, cultured (where possible), honest (where possible), understandable, relatable.
I don't know if this seems normal to international audiences; I suspect there’s a predisposition and a certain smugness from the director.
But let’s accept it as it comes.

I will watch it again.
Not for the plot, but for the photography.
As a lover of Caravaggio, it merits a second viewing.