Sometimes you just need to let your eyes swim in the visuals. That’s how I felt as we watched the Netflix series Ripley over the weekend. It’s luxurious to look at and linger on. But you can’t linger long. Every time different pixels reveal a different shot you’re treated to something equally magnificent.
Steven Zaillian’s take on the Ripley series is almost too rich to watch in a binging fashion. But that’s what my wife and I did over the weekend and we felt richer for the experience. Typically in my viewing, visuals are just another story-telling element that need to meld well with the other elements to create a satisfactory whole. Not in this case. The visuals are enough.
The black and white cinematography by Robert Eslwit and the Production Design led by David Gropman and Art Direction by Karen Schulz Gropman are beyond exquisite. Almost to the point of being overwhelming. They must have had one helluva time scouting locations and picking camera locations. It doesn’t get more sumptuous than this and it makes this remake of a well told tale worth viewing and celebrating.
In fact, beyond Andrew Scott’s performance, which is excellent but not his best, the remake needed this level of visual panache to make it more than just another retelling of a story about a difficult and troubling man.
Scott’s fellow cast members also do excellent work adhering like glue to Zailllian’s spare emotionless approach to the text. That approach works surprisingly well, especially in the later episodes. There’s more mystery and mirth left unindicated than in most fare, revealing as much, but not too much, as the many shots of statues observing the tale as it unfolds. Marry that to the visual story telling artistry and one amazing cat, and the entire experience is thrillingly satisfying and entertainingly unsettling in the best possible sense.
Highly recommended.
You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome.
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