The Shape-Shifting Mr Ripley

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SINCE ITS PUBLICATION IN 1955, Patricia Highsmith's psychological thriller, The Talented Mr Ripley, has captivated readers and screenwriters alike, inviting not only a steady stream of analysis and re-evaluation, but also various adaptations — from film to radio, theatre and television. And at the heart of this lasting fascination lies the book's enigmatic protagonist, Tom Ripley.

Set in Italy for the most part, the light-footed novel follows the titular Ripley, a grifter with a strong yearning to leave his past behind, as he travels from New York to Mongibello (based on the resort town Positano) at the behest of Herbert Greenleaf, a shipping magnate, to persuade his gallivanting son Dickie to return to the United States and join the family business.

But, soon Ripley — an orphan with a frail sense of self, often bullied for being a “sissy” — finds his fascination with his new host and his suave lifestyle turn obsessive. He becomes desperate to stay put, while also growing increasingly enraged by Dickie's ambivalent relationship with Marge Sherwood, an American dilettante. With Marge and Freddie Miles (a wealthy school friend of Dickie's) growing suspicious of his motivations, Ripley's darker tendencies begin to surface as he sets in motion a deadly game.

Themes of identity and sexuality, obsession and escape, wealth and excess dominate the narrative where darkness lurks just beneath the sunlit coasts and carefree indolence. But perhaps what impresses the most is how Highsmith, even as she navigates this intricate moral landscape through Ripley's crafty eyes, manages to leave so much of her characters' disposition open to interpretation, all the while making her tale a page-turner. A sophisticated high wire act, performed with an air of ease, that has inspired a range of Mr Ripleys and Co over the decades.

Of these, a couple stand out. More specifically, René Clément's Purple Noon (1960) and Anthony Minghella's The Talented Mr Ripley (1999); two films with their own draws, quirks and faults. And now a new notable adaptation enters the fray. One that, unlike its predecessors, gives the story much more room and time to breathe — Steven Zaillian's eight-part Netflix series, Ripley.

Presented in black-and-white and starring Andrew Scott as Tom, Dakota Fanning as Marge, Johnny Flynn as Dickie, and Eliot Sumner as Freddie (along with Maurizio Lombardi as Inspector Pietro Ravini), the show is a neo-noir retelling with a sombre inclination; and arguably the most "faithful" to Highsmith's classic.

But is this slow burn-er also the most definitive version of the lot? That is the question (or certainly one of the questions). While the show aces some aspects, especially with the more technical aspects like cinematography, it doesn't fare too well when it comes to the grittiness and performances of the films. Nevertheless, as with the many adaptations of Macbeth or Dracula or Sherlock Holmes over the generations, each (re)incarnation of Ripley not only offers something compelling to sink your teeth into, but also makes for an engrossing exercise of studying contrasts.

Which is all just a sophisticated way of saying how sweet and gratifying it is to pit them against each other and pick the absolute undisputed, no-ifs-ands-or-buts best among the lot — a true reflection of the times we live in. Appalling, yes, but true. So without further highbrow stalling, here are the Ripley Power Rankings:

Tom 'let me try your clothes on' Ripley

Andrew Scott (Ripley)

The actor with a capital A. Here though, he delivers a rather mixed bag of a performance as a subdued, mousey psychopath. Charmless to a large extent, the Actor at times seems to be sleepwalking through locations, scenes and situations, especially through the first half of the series. While this minimalist approach to the character plays into some of Ripley's traits as a conniving outsider, here it lacks allure and depth.

Playing an older version of Ripley (a 25-year-old in the book; Scott being 47, portraying someone in his early 30s(?)), he feels neither here nor there.

Perhaps because he settles into the role over time, or one gets more used to seeing him as hours tick by, things do turn around in the second half as he delivers some muted acting chops, and injects a bit more thrill to his languid demeanour. The ultimate result: a somewhat hypnotic exercise in going through the motions.

6.8/10

Matt Damon (The Talented Mr Ripley)

Who doesn't love themselves a good Damon? But not very good here, is he?

Like a deer perpetually caught in the headlights, the actor approaches Ripley as a high schooler might approach a liquor store — awkward, second-guessing and over-compensating, knowing all too well they are fooling no one.

As if undecided to the last frame how he wants to play with the character, Damon's pubescent performance is unintentionally amusing at best, distracting and unconvincing for the most part.

4.7/10

Alain Delon (Purple Noon)

Devilishly dashing with an air of menace and cunning, the French icon knocks it out of the park with a performance to remember.

The best part of arguably the best Ripley film out there, Delon owns the character as if he were born only to play it; a precursor to some great outings over the coming decade or so.

A truly unmatched screen presence in the annals of Highsmith's adaptations.

9.4/10

Dickie 'I'm a bit of a painter myself' Greenleaf

Johnny Flynn (Ripley)

Perhaps the most grounded and "realistic" of the lot, Flynn does a good job of keeping it real as a rich, bored, forever-holidaying expat who can see through things if he wishes to, but rarely does.

Affable, but with an air of superiority, the actor turns it up and down at will and while not exceptionally memorable, the performance greatly helps the show hold on to its melancholic, drifting mood.

7/10

Jude Law (The Talented Mr Ripley)

By far the most enjoyable of the lot, and not always for the right reasons, Law turns it up to 11 as the comically self-absorbed, and offhandedly cool, rich-dude in love with the Top-10-Jazz-Tracks playlist with a fixation on throwing fits.

Douchebaggy, and looking the part, the actor goes all in (for better or worse) for a performance to shame Americans everywhere.

6.9/10

Maurice Ronet (Purple Noon)

Making the most of his relatively brief (shortest of the lot) time on screen, Ronet makes you disdain him from the very first scene. Taking a more sadistic route to the character, the actor delivers a performance that comes off as brutish and reasonable in equal measure.

Short on fun and long on intensity, Ronet's character is the one who would whip Law's Dicke's ass while Flynn's watches nonchalantly.

6.6/10

Marge 'I'm writing a book' Sherwood

Dakota Fanning (Ripley)

In the running for one of the most one-tone performances you're likely to come across in a while, Fanning plays Marge with the panache of a mayonnaise sandwich — there to serve a purpose, but barely. For a character at the heart of the story, the actor's lack of range makes her almost expendable.

And the script doesn't do her any favours either. Episode after episode of doing little else than looking (literally) suspiciously at Tom, when her character finally does get to show a different side of her towards the very end, it seems unearned and out of turn.

4.3/10

Gwyneth Paltrow (The Talented Mr Ripley)

A performance so measured, it will make you forget all about Goop and vaginal eggs for a minute (or 139 minutes).

7.7/10

Marie Laforêt (Purple Noon)

A decent performance prone to be overly melodramatic à la '60s theatre-esque acting. Unlike Fanning, Laforêt gets to play with a range of shades and emotions, and her innocent demeanour is ever in tune with the film's quick tempo and jumps.

6.1/10

Freddie 'can't fool me, you peasant' Miles

Eliot Sumner (Ripley)

If sophisticated ease was a person. The best surprise casting across the board, Sumner's effortless take on the character is as captivating as it is fresh in approach. Every scene with the actor is a delight to watch, be it a passing encounter or a sharp confrontation.

Hopefully a prologue to many extensive roles up ahead.

8.6/10

Philip Seymour Hoffman (The Talented Mr Ripley)

The most singular performance of them all. One of those acts that elevates everything around it. What a gift.

10/10

Billy Kearns (Purple Noon)

Stereotypical. Not special, not bad. Just is.

Everything you would expect of Miles' character. Stocky, egocentric, mean and confrontational. Getting the job done.

5.7/10

So, who wore it better?

Ripley (2024)

The good:

Gorgeous cinematography.

Beautiful locations.

Eliot Sumner.

Subtle performances.

Slow burn.

Noir / Hitchcockian inspiration.

Some unexpected dark humour.

The not so good:

Some of the acting.

The Talented Mr Ripley (1999)

The good:

Philip Seymour Hoffman and Gwyneth Paltrow.

Some spectacular establishing shots and photography.

The not so good:

Matt Damon.

A script that achieves little with all the diversions from / additions to the book.

A few too set-y sets.

Purple Noon (1960)

The good:

Alain Delon.

A well written script that cleverly tweaks / rearranges the storyline from the book.

Beautiful locations.

The wardrobe.

Not so good:

The cop-out of an ending.

Final word:

If you are in a mood for something contemplative and meandering (not to mention, visually arresting), Netflix's Ripley is the way to go.

Something Hollywoodised and boisterous, with a hint of camp? The Talented Mr Ripley with its ‘Tu Vuo Fà L'Americano’.

Or, if all you want to do is stare at the face of an angel (the angel being Lucifer), look no further than Purple Noon.

Here’s hoping that the new Netflix series will not only act as a gateway for the uninitiated to explore other Ripley films — including The American Friend, Ripley’s Game, Ripley Under Ground — but also to Highsmith's excellent body of work, and the works she has inspired.

Stream Ripley here. Watch The Talented Mr Ripley here.