Netflix’s incredible retelling of the Patricia Highsmith classic is the platonic ideal of TV.
, which is proof that hiring great artists is the surest means of producing great art. Written and directed by Oscar-winning screenwriter Steven Zaillian , this is a sumptuous, suspenseful, and altogether stellar black-and-white series. It not only avoids making a misstep along its cunningly winding journey, but it also manages to exceed expectations at every turn, such that there isn’t a gesture or suggestion in its eight episodes that doesn’t enhance its overpowering overall effect.
Tom is a peerless chameleon precisely because all that lurks beneath his charming surface is a void of greed, cruelty, and ambition, and Scott evokes his deceptive ruthlessness through his eyes—which slyly convey the machinations developing and spinning in his head—and his thin, unwelcoming smiles. Charismatic and scary in equal measure, Scott has never been better, and he’s aided in his exceptional cause by Zaillian, whose writing is razor-sharp and his direction just as assured.
Together, the writer and cinematographer provide a bounty of aesthetic delights: deft framing in which Tom is constantly spied at alienated distances in narrow passageways and doorways; recurring, heavily symbolic sights of mirrors, water, Roman statues, and the paintings of Caravaggio, whom Dickie loves and Tom comes to adore; and numerous, precisely playful sequences that crosscut between written and spoken words, reality and imagination.
Tom longs not to be with Dickie but to literally be him, and once that fantasy comes true during a harrowing third episode,picks up steam as it watches Scott’s phony strive to transform himself by juggling innumerable lies and complications, many of them brought about by a subsequent homicide and, with it, the pesky involvement of Rome’s Inspector Ravini .
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