Steven Zaillian wrote and directed the eight-episode adaptation, an Italian-set, black-and-white thriller about the eponymous grifter-turned-sociopath.
It’s an ebullient and passionate world of religious and artistic fervor and when Matt Damon’s Tom Ripley begins to kill to secure his place in that world, he does so with the improvisational flair of the Blue Note jazz albums he studied to help him assimilate. And who could blame Damon’s Ripley for desiring, by any means necessary, to stay? As photographed by the great John Seale, the entire cast ofpractically glows.
The series puts Scott in his 30s, a more plausible stretch, but this is still not miscasting and not just because without Scott, there would be no Ripley. The maturity has thematic purpose.takes the core story’s backdrop of privilege to a desperate extreme. It’s one thing for Tom Ripley to be an unformed if still protean grifter at 21 or 22, but another thing still to be scraping by without an identity at 35.
This is a version of Italy in which the land and its culture are eternal, but all our other main characters are past their expiration dates and Ripley is learning to find his own artistry in hastening that expiration. It’s not heroic, but I get it.
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