How Caravaggio Cast a Shadow Over ‘Ripley’

As a connoisseur of both art and suspenseful storytelling, I find myself utterly captivated by the masterful fusion of Caravaggio‘s work and the limited series, Ripley. The intricate play of light and shadow, a hallmark of Caravaggio’s style, is brilliantly woven into the fabric of this Emmy-nominated show.

It wasn’t by chance that the Italian painter Caravaggio’s works were featured in Netflix’s miniseries “Ripley,” which earned 13 Emmy nominations. The show, presented in black and white, skillfully employed light and darkness, a technique that was a specialty of this artist, famously known as “The Master of Light.”

“Steve Zaillian, the showrunner, aimed to highlight the interplay of light and darkness, not only in the setting but also on characters’ faces – the emotional motivation behind why scenes should be portrayed in black and white,” explained Robert Elswit, the cinematographer for the series. Known for his work in films such as “Boogie Nights” and “The Night Of.”

Elswit accentuated the contrast even more by depicting the main character of the series, Tom Ripley (portrayed by Andrew Scott), strolling through Italian churches. According to Elswit, these structures emit light primarily through their windows or sparse ceiling lights, creating a natural shadow below them, which perfectly complemented the character of Ripley.

In one striking scene, Ripley ventures into San Luigi dei Francesi church in Rome, home to three masterpieces by Caravaggio. To bring light to the artwork behind the coin box, Ripley deposits a coin, an action still practiced by visitors today. Yet, the crew was barred from filming at the original church, so they recreated that specific detail at a bigger, alternative church instead.

As a gamer delving into a historical setting, let me share some insights: Back in the 17th century, electricity was unheard of. So, even on the brightest days, viewing the church’s artwork wasn’t easy due to the countless candles that must have been burning. While we were there, I captured footage and later, we artificially recreated the candlelit atmosphere. In post-production, they placed the paintings digitally, with Tom being enclosed in a green box for the process.

Ripley, who typically appears unaffected by human emotions except towards certain individuals and his moral principles, experiences a profound emotional response whenever he encounters Caravaggios in churches. “He is powerfully touched when he gazes at the Caravaggio in Naples. He channels all this emotion – something he’s never felt for another person – towards the beauty, artistry, architecture, and Italian culture that envelop him.”

Viewing the Caravaggios assembled in a church offered viewers a unique perspective on the morally ambiguous character who resorts to deception and violence to prosper.

As a fan, I find myself intrigued by Elswit’s approach as he delves into the audience’s reactions towards the character. He likens the Caravaggios to puzzling clues that hint at the narrative’s direction. The first time Dickie Greenleaf (Johnny Flynn) presents Tom with The Seven Works of Mercy, it serves as a chilling premonition of the brutal acts Tom is soon to commit. When Tom takes the life of his second victim, Caravaggio’s masterpiece, David With the Head of Goliath, suddenly surfaces in his thoughts. Lastly, just like Caravaggio, who was sentenced to death for killing a man and subsequently fled Naples in 1606, Tom makes an appearance in the climax, leaving viewers to contemplate the striking similarities between the two.

“I stumbled upon this fascinating tale in the August edition of The Hollywood Reporter magazine, which I happened to have picked up. If you’d like to read more stories like this one, consider subscribing to their magazine by clicking here.”

2024-08-21 22:56

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