V Lucio

I put this off for a month, namely because It's the The '99 film was one of the first films I remember analysing properly and dissecting as a "Film Study", I loved it. That and it was in black and white (not against the choice for modern black and white necessarily, more just the locations involved I thought would pop more in colour!) I didn't see how having this as a 8 part 8 hour long series could or would be needed.

The first episode lets you sink right into the aesthetic, clearly something feels a bit off. Episodes 3 and this one- 5, took a 10 minute scene from that film and expanded it to a full hour, without loosing your attention it builds and builds with this gut wrenching suspense sequence. This adds so much to the whole feeling of the series. The fact it's in black and white almost adds a Hitchcock-ian thriller feel to it. To me it's a great blend of this cringe like suspense horror.

This series is shot so incredibly well, every frame is true artwork. It gets better and better with each episode couldn't recommend it enough! Don't get me wrong the performances are top notch but in the Spotlight is Zaillian's camera. It lingers just a bit too long sometimes which creeps you out, then when it needs to it'll edit quickly (example of the cat in ep 5).

It's an over used phrase but this series IS so deliberately paced and I wouldn't be surprised if it looses viewers early on, especially if they don't know the events of the films. It's a slow burn, but enjoy that.

I've still got. 3 episodes to go, but I'll dare say this is a masterpiece already.

Episode 5 of Ripley, titled "V Lucio" and helmed by Steven Zaillian, delves deeper into Tom Ripley's moral descent as he continues to navigate the web of lies and violence he has spun. This episode builds on the tension established earlier, introducing new complications that test Tom's ability to maintain his fabricated identity while evading suspicion.

The episode begins with Tom settling into his new life, blending elements of his own persona with those of Dickie Greenleaf. His efforts to solidify his cover include forging documents and creating a veneer of credibility, but his plans are interrupted by the arrival of Freddie, an old acquaintance of Dickie. Freddie's unexpected visit brings immediate tension, with the episode's pacing effectively capturing the unease and mistrust between the two. Freddie's sharp eye and probing questions about Tom's possessions and stories lead to an explosive confrontation. The detailed buildup to Freddie's realization of Tom's deception is masterfully executed, showcasing Zaillian's precise direction and the script's clever layering of suspense.

The turning point comes when Tom, cornered by Freddie's suspicions, resorts to violence, killing him with a glass ashtray in a scene that is both shocking and meticulously choreographed. This moment encapsulates the series' exploration of the fine line between survival and monstrosity. The aftermath of the murder is equally compelling, as Tom meticulously cleans the crime scene, displaying a chilling calmness that underlines his transformation into a remorseless manipulator. The episode's cinematography heightens the claustrophobia of Tom's efforts, using tight framing and shadowy lighting to emphasize his growing paranoia and the moral darkness enveloping him.

The performances in this episode are standout, particularly Andrew Scott as Tom Ripley. Scott captures the character's duality with finesse, portraying both his calculated intellect and the cracks in his façade. The dynamic between Scott and Johnny Flynn (Freddie) is electric, with Flynn's portrayal of Freddie's charm and perceptiveness making him a formidable foil to Tom. The tension in their interactions is palpable, and the eventual confrontation feels tragically inevitable, a testament to the script's effectiveness in building stakes.

On a technical level, the episode excels in its use of sound design and editing to amplify the suspense. The muffled sounds of the city outside contrast with the stark silence of Tom's apartment, creating an atmosphere of isolation that mirrors his mental state. The editing during the murder sequence is particularly striking, cutting between Tom's actions and his internal turmoil with a precision that heightens the intensity. The episode's pacing is deliberate, allowing the weight of each moment to resonate without feeling sluggish.

Lucio is a turning point in the series, marking Tom's complete immersion into a life of deception and violence. It raises compelling questions about identity, morality, and the cost of ambition, themes that resonate through Zaillian's meticulous direction and Scott's riveting performance. The narrative's unflinching exploration of Tom's choices and their consequences is both disturbing and engrossing, making this episode a standout in the series. While the deliberate pacing may not appeal to all viewers, the payoff in character development and thematic depth is undeniable, solidifying Ripley as a masterclass in psychological drama.

Some users complain that Andrew Scott was too old for the part (Alain Delon was 23 when he starred in "plein soleil") but the cast and credits read :"based on Highsmith 's novelS" ; they probably intend a season 2 and maybe more; in the 1959 movie,the ending was "moral" and did not ask for a sequel ;such is not the case here: the five Ripley volumes span at least a decade ,so the choice of an older actor made sense .

On the other hand ,the choice of Eliot Sumner as Freddy Miles is weird beyond comment : Miles was a womanizer bon vivant, a stout man (René Clément forced his star Delon to drag his victim's body from the apartment to the car in real time in 1959);That he may be Dickie's friend is all the more unlikely , since he has only contempt for the inverts -see episode 3-. The choice of an androgynous actor will later be "justified " (by Tom) during the investigation .

The title of the episode ,"Lucio "is the name of the cat of the concierge ; its part is minimal ,even the traces of blood can't arouse her suspicion ;in fact ,it's a nod to Highsmith ,whose great fondness for cats was well known. She would live with plenty of them in her house.

A single witness of new murder . The end of episode suggests than the most important, exactly for the indiference of tom Ripley about fingerprints.

Lucio is an episode remarcable for the wise manner to recreate classic scenes from old fashion films noir.

For lovely performance of Eliot Sumner. And for round - perfect coldness of Ripley.

A chain of symbols giving profound senses to a dark story of survive , crafted by chains of lies, fear, vulnerability and a very precise, piece by piece , purpose.

Sympathy for Tom ? Why not ? The series has the precious gift to propose the sketch of identification with main character in presumed if.

I loved the cat .

I appreciated the fine work of Margherita Buy.