RIPLEY

This masterpiece of a series is completely unique from the movie, and really elicits its own distinctive film noir vibe both in cinematography and dialogue. Purposeful yet subtle performances by all involved; Andrew Scott is absolutely perfect for this role.

I haven't seen a TV series interpreted from a film source this well since Hannibal, where Mads Mikkelsen was also perfectly cast and gave an unforgettable performance.

What else can be said about this series? A bit of a slow burn, but the pacing is completely suitable, and allows for a bit more fleshing out and development of the characters. Although I love the vibrant colors along the coast of Italy as much as anyone, I feel the choice to use a monochromatic palette here really enhanced the mood and atmosphere of the story.

Top notch production in all aspects!

In my mind, Alain Delon in Rene Clement's 1960 "Purple Noon" was the definitive Tom Ripley. Beautiful and totally amoral. Anthony Minghella's 1999 "The Talented Mr Ripley" had a bland but thoughtful Tom Ripley who felt and suffered. Minghella had a superb script, Gwyneth Paltrow, Philip Seymour Hoffman and Cate Blanchett playing riveting, unforgettable characters. There was also John Malcovich in a Liliana Cavani version, and although I've seen it, I don''t remember it, isn't that terrible? And the Wim Wenders version with Dennis Hopper doesn't count, good film, but it doesn't count as a version of Patricia Highsmith's novel. Now this. Ripley, the series. Hours long, in black and white. My first reaction was to rejected it but the truth is that I finish seeing it over a week ago and stayed with me, I can't shake it off. Why I wonder. And the reason is very simple. Steven Zaillian's version is truly wonderful. He has de-glamorized it. The whole thing. The story, the characters. Oh the characters. I was so used to see beautiful people playing them, in gloriously glamorous locations. This version is stark and Andrew Scott is like a replicant. No emotions, not even a hint of them. Invisible. As a consequence we do all the work. We gasp or look away. He just goes on. I know I'm going to see Ripley again, maybe not tomorrow but soon. I suspect you will too.

I am struggling to find the words to describe how brilliant this show is. It took me two episodes to find my feet with it, but once in, oh my goodness. The film photography is stunning, it is like watching liquid art. I didn't like the black and white to begin with, but loved it by the end. Light and shade has never been better used. Andrew Scott puts in a masterful performance in the lead role. He does that wonderful trick of being able to have you rooting for him even though you know morally you shouldn't. The supporting cast are excellent, with a particular nod to Eliot Sumner who I had never heard of before, but they are mesmerising.

This is not a fast, bang buzz type of show, but like a lot of the finer things in life, if you are prepared to invest yourself, it will reward you in measures.

I loved the 'Talented Mr Ripley' version, however, have enjoyed this just as much in a different way. I liked the fact that it didn't just try to copy the last version. I was a bit taken a back at the older Tom Ripley in this version but just decided that a longer time period had passed and got used to it.

I thought the actor playing Tom was fabulous and also the different Marge was streets better than Gwyneth Paltrow whom I thought was the big weakness in the previous version.

The black and white worked so well with this, more sinister, and moody version. Whilst the colour of the last version worked with the 'Talented' version which portrayed a much more extraverted and upbeat Dickie.

The negative element for me this time was Dickie. There seemed to be nothing to like about him and he lacked any charisma at all. He was a bit wooden and sexless to be honest. Last time, you felt that Tom had fallen so in love with the Jude Law version that he could not bear to be rejected by him or live without him. This time, I just felt that Tom wanted to take over his lifestyle but had no feelings for him. So, I think this version has fewer layers to it and something was missing.

Still, you just need to accept that this is a completely different version, and it is very watchable and intriguing. Certainly, the actor playing Tom IS the film. I think worth it just for his acting.

Andrew Scott gives a deeply neurotic and disturbing impression of one of the most beloved psychopaths in movie history. He's a great actor and he knows exactly what he's doing, sharp, precise, intense, on top of his acting skills.

Zaillian stretches the story out here, (sometimes a little bit too much in the last three episodes), taking 8 hours, compared to shorter former versions. I must say I like all versions, because Highsmith's original story is of genius quality, and it allows to open a lot of doors to different interpretations. I loved Alain Delon in the Rene Clement classic, as well as Matt Damon in the luscious Minghella version, but comparing the different interpretations in detail would take to long.

About this one: Yes, I loved that it was shot in atmospheric black and white (fantastic cinematography, every frame a piece of art!), I loved that this version was slow, I loved that it was so dark, I loved the sardonic humour.

I could have easily given this version 10 stars, but, I am sorry to say, the characterization of Freddie Miles didn't work for me here.