The Talented Mr. Ripley by Patricia
Highsmith
Mr Ripley Is The Crossroad Between Talent And Good Luck
One of the great crime novels of the 20th century, Patricia Highsmiths The
Talented Mr. Ripley is a blend of the narrative subtlety of Henry James
and the self-reflexive irony of Vladimir Nabokov. Like the best modernist
fiction, Ripley works on two levels. First, it is the story of a young man,
Tom Ripley, whose nihilistic tendencies lead him on a deadly passage
across Europe. On another level, the novel is a commentary on
fictionmaking and techniques of narrative persuasion. Like Humbert
Humbert, Tom Ripley seduces readers into empathizing with him even as
his actions defy all moral standards. The novel begins with a play on
Jamess The Ambassadors. Tom Ripley is chosen by the wealthy Herbert
Greenleaf to retrieve Greenleafs son, Dickie, from his overlong sojourn in
Italy. Dickie, it seems, is held captive both by the Mediterranean climate
and the attractions of his female companion, but Mr. Greenleaf needs him
back in New York to help with the family business. With an allowance and
a new purpose, Tom leaves behind his dismal city apartment to begin his
career as a return escort. But Tom, too, is captivated by Italy. He is also
taken with the life and looks of Dickie Greenleaf. He insinuates himself
into Dickies world and soon finds that his passion for a lifestyle of wealth
and sophistication transcends mor al compunction. Tom will become
Dickie Greenleaf--at all costs. Unlike many modernist experiments, The
Talented Mr. Ripley is eminently readable and is driven by a gripping
chase narrative that chronicles each of Toms calculated maneuvers of
self-preservation. Highsmith was in peak form with this novel, and her
ability to enter the mind of a sociopath and view the world through his
disturbingly amoral eyes is a model that has spawned such latter -day
serial killers as Hannibal Lecter. --Patrick OKelley
Personal Review: The Talented Mr. Ripley by Patricia Highsmith
Like many, I'd seen the 1999 movie adaptation of this tale before finally
reading Patricia Highsmith's original novel this year. Fortunately for me as
a reader, I had forgotten most of the details from the movie in the
intervening eleven years. Having just read it, I can't imagine that I enjoyed
the movie nearly as much. This is a tight yarn that forcefully propels you
through the pages. It's truly an "edge of your seat" story.
Tom Ripley is a forgettable nobody eking out a living in New York City,
pulling off numerous petty scams to keep his meager income flowing. A
degree of dumb luck comes his way one day when a Mr. Greenleaf
contacts him in an effort to persuade his layabout son Dickie to return
home from Europe. The wealthy Mr. Greenleaf thinks that Tom is friendly
enough with Dickie to be more persuasive than his family has been by
mail. Tom scarcely knows Dickie at all but jumps at the opportunity to take
a bankrolled trip to the little town of Mongibello, Italy.
Upon reaching Mongibello, Tom quickly locates Dickie Greenleaf, who's
been spending his days sailing, painting, drinking and hanging out with his
gal pal Marge. Tom manages to deftly work his way into the daily lives of
Dickie and Marge, becoming a third member of their American exile social
club. [SPOILERS AHEAD. Read no further if you want to stay clear of
major plot turns.] Over the course of many meals, drinks, lazy summer
afternoons and trips around town, Tom grows extremely fond of Dickie. He
likes to think that they have "a bond". What kind of bond is it in Tom's
mind? While hinting around the edges about Tom's sexuality, Highsmith
cagily leaves it for the reader to decide.
All of this constant pal-ing around by the intrusive Tom Ripley starts to
annoy Marge, who has her own designs on Dickie. She can't quite admit to
herself what she suspects deep down: Dickie simply likes having her
around in the absence of any alternative. He's not a committer. Tom,
sensing the conflict, attempts to cut Marge out of the picture by arranging
out-of-town trips for himself and Dickie while leaving her at home. A turning
point comes when Tom decides to see what it feels like to be Dickie -- by
trying on his expensive clothes. While admiring himself in the mirror, he's
caught by Dickie who angrily rebukes him. Dickie now realizes that Marge
has been right about Tom: he's gotten too close. Dickie begins to make
snide comments about Tom, treats him disrespectfully, and cuts _him_ ou t
of travel plans with Marge.
Tom talks Dickie into one last travel adventure for just the two of them.
While visiting a small seaside town, they rent a small boat. Tom, having
had his fill of sarcastic rejection from Dickie, can stand no more. In a fit, he
kills Dickie in the open water, dumping his body overboard and weighting it
down with an anchor. At that moment, Tom assumes Dickie's identity. And
that's just the beginning of the story...
The remainder of the tale plays out as Tom tries to outwit everyone who
still believes Dickie to be alive, Mr. Greenleaf, Marge, Dickie's other friends
in Italy. At one point while in Rome, Tom is unexpectedly greeted by the
arrival of one of Dickie's friend Freddie Miles. About to be exposed in a lie
about his identity, Tom has no choice but to kill Freddie too, right in his
hotel room. A chase across Italy for Freddie's murderer, Dickie Greenleaf
and Tom Ripley ensues. It's all Tom can do to stay one step of everyone
who's pursuing him, while convincing everyone tha t Dickie is still alive.
In this book, Highsmith explores issues of class, envy, sexual identity and
the human capacity for deception. The plot spins so quickly that you're
gasping for breath as Tom squirms out of one predicament only to land
straight in another. At each turn you feel that there's no plausible way for
Tom to escape, and yet...
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