"Ripley" Series Captivates with Stunning Italian Locales and Cinematographic Mastery
April 11, 2024 in Arts & Culture by Julian Everett
The "Ripley" television series may not have won over every viewer, but its impeccable selection of Italian filming locations and the cinematographic artistry of Robert Elswit, who created a mesmerizing black-and-white visual style, are undeniably noteworthy. For those familiar with Italy, the series offers a delightful sense of recognition with its use of iconic sites like the Pio Monte della Misericordia church in Naples, the Gritti Palace hotel in Venice, and the arch on Via Giulia in Rome. However, the series does not strive for authenticity in every aspect. For instance, Rome's train station is ingeniously represented by the EUR's Palace of Congresses.
Interestingly, the decision to use Naples' Palazzo San Felice as a stand-in for a hotel in Palermo is quite peculiar, especially given the building's significance in the Neapolitan Sanità district. This choice might seem odd to those who remember its appearance in Liliana Cavani's film "The Skin." Yet, such geographical liberties are minor compared to more surreal choices in the series, such as placing a pathologist's office on a staircase solely for the visually striking shot it provides.
A particularly enjoyable moment in the series involves John Malkovich handing a fake passport to Andrew Scott. Malkovich, who previously portrayed Ripley under Cavani's direction, brought a nuanced blend of wit, charm, and elegance to the role, starkly contrasting Scott's more empathetic portrayal. This scene feels like an initiation of a novice Ripley by a seasoned con artist, hinting at a potential continuation if the series is renewed. Given Patricia Highsmith's five-novel saga about the character, there's ample material for further exploration.
Central to the series is Tom Ripley's obsession with Caravaggio's paintings, which symbolize the intersection of art and crime, a theme that resonates deeply with Ripley's own identity. The series cleverly intertwines Ripley's encounters with Caravaggio's works, adding layers to the narrative. The storyline set in the early 1960s finds a historical anchor in the 1969 theft of "The Nativity with St. Francis and St. Lawrence" from a chapel in Palermo, a real-life mystery that remains unsolved and could serve as an intriguing plot for a sequel.
