Familiar with the term arthouse film? As examples, think of the works of past directors Bergman, Fellini and Goddard and, in contemporary times, Sofia Coppola, Terrence Malik, and Jane Campion. An arthouse film “strays from the mainstream commercial path to create a unique artistic expression. These films are typically characterized by their serious, often experimental nature, prioritizing directorial creativity and artistic vision over mass-market appeal.”
In Ripley director Steven Zaillian and cinematographer Robert Elswit take a bold decision to make an eight-episode arthouse TV series, filmed in black and white. Some viewers admire the result: “Great decision to film Ripley in rich black and white. It intensifies the moodiness and tension of the piece.” Others condemn it: “I didn’t last the first episode. The cinematography is so annoying.” And “I’m mad as hell that it’s in black and white. What a crime to make a sexy crime show set in 1960s Italy and not do it in colour.” The cinematography mesmerized Glen and me — in its light and shadows that enhance aesthetic appeal, reveal character traits, build suspense. And in its nods to film noir.
Early on Mr. and Mrs. Greenleaf hire Tom to travel abroad and persuade their self-indulgent son Dickie to come home. To assume his place in the family business. Tom goes from a petty swindler in New York City to an imposter in Italy, where he insinuates himself into Dickie’s decadent life.
I’m not acquainted with Patricia Highsmith’s protagonist in her novel “The Talented Mr. Ripley” (1955). In the series, however, I initially missed Matt Damon from the 1999 film adaptation. His ‘Tom’ displayed charm; Andrew Scott’s is charmless. And yet, he fits this dark character study. We watch his growing envy of Dickie’s privilege to lead an extravagant, carefree life, while Tom scrabbles on the fringes. He wants to be Dickie.
As the story unfolds Tom masters deception, connivance, and murder. Through him, the series exposes societal ills. Additionally, show stealing Italian Inspector Ravini, who doggedly aims to solve the murder mystery, is fun to watch.
Glen and I award ♦♦♦♦♦ to this cinematic tour de force. •
Mike Calverley says
Awesome Pam. Thanks for sharing your thoughts. Film Noir takes us back to a past time that’s fun to romanticize about . Particularly for those of us who started watching black and white TV well before colour was available. There’s something to be said for allowing our imagination to paint or reimagine a picture , (or in this case a film).
Pam McPhail says
Well said, Mike!
Tim McPhail says
You have written an excellent review Pam.
Both my son Michael and I are huge fans of Orsen Welles. We suggest to anyone who hasn’t explored black-and-white cinematography that they watch the movie The Third Man. Post war Vienna is portrayed as a gloomy and corrupt world by cinematographer Robert Krasker. The first scenes with Harry Lime, Orsen’s character, are among the finest ever shot. It would be sacrilegious to colorize this brilliant movie.
Pam McPhail says
Tim, I agree with you and Michael in spades about the brilliance of The Third Man. Glen taught this film at Bishop’s, so we are intimately familiar with it — and its score performed, unusually, on a zither.
Marlie Oden says
Excellent study! I love Andrew Scott.
Marilyn RB says
Thank you for bringing this series to our attention, Pam. We will be sure to watch it. We recently viewed the neo-noir six part series, “Monsieur Spade”, on Acorn TV. It is set in the south of France in 1963 where the main character, American detective Sam Spade and played by Clive Owen, has retired. I’d highly recommend this series in spite of the fact that the last episode rushed to wrap up the threads of the story line. Perhaps we were more disappointed that the series came to an end. Use of shadow, sepia-toned, dim lighting contrasted with scenes filmed in the stark light of day, which as you described about the Ripley series, serves to reveal the dark underbellies of religion, secret service intelligence, and politics. I might have to watch it again.
Pam McPhail says
Thanks for describing Monsieur Spade, Marilyn, which seems like excellent viewing for us. Unfortunately, we don’t have access to Acorn TV and so far the show is not streaming elsewhere. We’re rewatching The Wire (on HBO), a comprehensive study of Baltimore that’s as compelling now as in a first viewing.