There's something about the character Ripley. From the original 1955 novel by Patricia Highsmith to its many film adaptations, every adaptation, including the 1960 movie Plein Soleil (Purple Noon) takes artistic licence to put their own spin on the story. Anthony Minghella's 1999 version is a colourful feast well acted by Matt Damon, Jude Law, Gwyneth Paltrow and the brilliant Philip Seymour Hoffman.
But this version in stark, gorgeous black and white is more psychological and stunning. The plot of this version is truer to the novel than the 1999 adaptation. The black and white works well with this movie making it a more moody and sinister version.
We find ourselves rooting for Ripley, a detestable human being. He's got no redeeming features whatsoever. Yet as we grow to passionately detest him, we are hoping against hope that he'll get away with it all.
Steven Zaillian, the brilliant writer behind Schindler's List and The Night Of, writes and directs this truly wonderful version. We are used to seeing beautiful people playing their roles in gloriously, glamorous locations. However, this version is stark and Andrew Scott is like a replicant. Not even a hint of emotions. Invisible. As a consequence we do all the work. While we gasp or look away, he just goes on.
Andrew Scott is absolutely perfect for this role (probably a bit older than Tom Ripley of the novel). Dakota Fanning is perfect and more like Marge of the novel.
The real star of this mini-series is the cinematography by Robert Elswit, which conveys both the mood and atmosphere of the story. In addition, the interesting camera angles work well to highlight the beauty of Italian architecture and the coast. Each shot is like a photo you wished you had snapped - total eye candy.
The noticeable lack of music helps to connect with the characters and the sounds in their environment. The sound is like an additional character in the story.
I didn't want to see a remake of the 1999 version but rather a unique vision of the original story. And on that level this version succeeds big time.
This is the truest, most beautiful piece of art I've seen in a long time.
But this version in stark, gorgeous black and white is more psychological and stunning. The plot of this version is truer to the novel than the 1999 adaptation. The black and white works well with this movie making it a more moody and sinister version.
We find ourselves rooting for Ripley, a detestable human being. He's got no redeeming features whatsoever. Yet as we grow to passionately detest him, we are hoping against hope that he'll get away with it all.
Steven Zaillian, the brilliant writer behind Schindler's List and The Night Of, writes and directs this truly wonderful version. We are used to seeing beautiful people playing their roles in gloriously, glamorous locations. However, this version is stark and Andrew Scott is like a replicant. Not even a hint of emotions. Invisible. As a consequence we do all the work. While we gasp or look away, he just goes on.
Andrew Scott is absolutely perfect for this role (probably a bit older than Tom Ripley of the novel). Dakota Fanning is perfect and more like Marge of the novel.
The real star of this mini-series is the cinematography by Robert Elswit, which conveys both the mood and atmosphere of the story. In addition, the interesting camera angles work well to highlight the beauty of Italian architecture and the coast. Each shot is like a photo you wished you had snapped - total eye candy.
The noticeable lack of music helps to connect with the characters and the sounds in their environment. The sound is like an additional character in the story.
I didn't want to see a remake of the 1999 version but rather a unique vision of the original story. And on that level this version succeeds big time.
This is the truest, most beautiful piece of art I've seen in a long time.
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