Purple Noon (Plein soleil, 1960)

Based on Book 1: The Talented Mr. Ripley

Tom Ripley is sent to Italy to convince a wealthy man's son to return home.

Rewatch. I somehow forgot this was shot in color and have no idea why—the opening scene is gorgeously saturated and the palette is a constant visual treat. It's incredible that this movie came out just five years after the book's release, providing a perfect postcard image of Highsmith's Italy.

I remember not having any strong feelings about this movie (especially when compared to the other two adaptations of the same book), but I'm more fond of it now. I can really see how it influenced later versions. Love the focus on the Work and how diligently Ripley covers up his tracks (purchasing a whole projector and some kind of drafting contraption just to practice signature forgery…the man's thorough!). That diligence, of course, means nothing when he lets his guard down and thinks he's gotten away with everything. I initially disliked the ending and how much it deviated from the source material, but after this watch i think it's a fitting conclusion for this version of the character (smug, French).

The American Friend (Der amerikanische Freund, 1977)

Based on Book 3: Ripley's Game

An ordinary picture framer is coerced into becoming a hitman.

First-time watch. This is the second (and last) Ripley adaptation made contemporary to the corresponding book's release, and it makes full use of the era's design sensibilities. What a grimy, stylish picture! Everything seems to be contaminated with a dingy, wet layer of abandonment that permeates the whole way through.

I really enjoy this loudly American version of Ripley who can seemingly only bond with other people through murder. The train sequences kicked so much ass—I did feel like cheering and clapping like a seal when Ripley suddenly appeared to save the day (his little "hi Jon 😄" after he knocked a mafia guy out cold…endearing!). There's a lot of goofy-looking action here and it meshes well with the other bits of humor and general off-kilter air. The end is fittingly melancholic for a story about loneliness.

The Talented Mr. Ripley (1999)

Based on Book 1: The Talented Mr. Ripley

Tom Ripley is sent to Italy to convince a wealthy man's son to return home.

Rewatch. I have a lot of fondness for this movie since it was my introduction to Tom Ripley, as it was for many others. It's an unsubtle take on a story that deals more in implications, and that's fine (even though I prefer my evil homoeroticism to be less overt now). There are a lot of choices made to frame Ripley as innocent as possible, which is funny because he kills more people here than he does in any other rendition of this story. He's just a little guy, a little birthday boy, which makes him less compelling than other versions but considerably more relatable (really no wonder why this Ripley is the one everyone latched onto!). Of all the versions he's the furthest from Highsmith's Ripley, in that he falls into a life of crime mainly by chance, not choice.

It's impossible to not mention the other characters in this movie and how absolutely stacked the cast is. Everyone is excruciatingly hot and magnetic, and it's easy to forget how little screen time some of them have. Just an entire cast radiating with nuclear-level charisma.

Ripley’s Game (2002)

Based on Book 3: Ripley's Game

An ordinary picture framer is coerced into becoming a hitman.

First-time watch. One constant of these adaptations is the visual delight, whether it's a colorful beach town or somewhere more grimy and neo-noir—this movie, on the other hand, left me with practically zero aesthetic impressions. Well, we had a good run!

John Malkovich's whole thing works well on an older and more established Ripley, which is unfortunate because his co-lead isn't doing anything at all. This story only works when the ordinary picture framer is just as (if not more) compelling as the con artist.

The train murders were fun and gruesome, at least; this is definitely the most cold and action-oriented Ripley, who seems more like a true assassin than an occasionally-kills-people guy. This did initially put me off from the movie: this Ripley is so openly hostile and threatening right out of the gate, and part of the charm of other versions of this character is that he can hide his menace and (just barely) pass as an ordinary, non-murdering guy.

Ripley Under Ground (2005)

Based on Book 2: Ripley Under Ground

When an up-and-coming artist dies in a sudden accident, his friends seize the opportunity to make some extra cash.

First-time watch. God, can you image if Alan Cumming played Ripley in this?

This is easily the worst and most dated of the screen adaptations, but I had fun. The art forging crew being a bunch of young friends high out of their minds was jarring and silly, but it worked once I settled into the movie's tone. The way they just don't give a shit about a supposed best friend dying and immediately leap at the chance to make money off his corpse is very funny. Heloise's actor is doing an insanely terrible French accent but I did like her whole deal at the end. Murder is okay!

Ripley (2024)

Based on Book 1: The Talented Mr. Ripley

Tom Ripley is sent to Italy to convince a wealthy man's son to return home.

Rewatch. Ending on a high note!

The way this manages to balance nail-biting noir with Looney Tunes ass sequences is so skillful it's maddening. Everyone involved in this production is clearly obsessed with their craft to the point of perversion, and thank god for that. The soundscape alone can be nauseatingly real—it's impossible not to wince or react out loud when a head slamming against stone stairs is amplified by masterful sound work. ASMR: a guy drags your corpse down a gorgeous staircase in 1961 Rome. A hot Italian detective interrogates you in your apartment with accompanying notebook rifles and pen clicks, etc.

The black and white imagery is just perfect: it's instantly transporting. It makes Andrew Scott's eyes look like little black holes. It forces the audience to notice the textures, the darks and lights. The Caravaggio addition was an incredible creative choice.

It's funny how often this Ripley uses homophobia to deflect suspicion away from himself; it's like his last resort weapon. He's so deeply strange and the world of the out-of-touch rich fits him like a glove—except, of course, he's always working. And he's going to have to work for the rest of his life to sustain the fantasy.