As much as I enjoyed Robert Elswit, ASC’s amazing cinematography in the Netflix production of Ripley, I find it incomprehensible that anyone would reject it outright because it was created in black and white. But since there’s no accounting for taste, I’m bringing you Maira Butt’s April 10th article in the British publication, The Independent.
Titled, Netflix Viewers Divided Over Ripley Due to Stylistic Choice, it delivers opinions from a number of what I would assume were casual watchers. In addition to affirming my contention in a recent post regarding stupidity as a renewable resource, it says a great deal about why the world is currently in such a sorry state of affairs. The only person who makes any sense here is quoted in the final paragraph. If only we could start a wide-ranging trend by enacting what they suggest within the motion picture industry…!
Netflix users are switching off from the new series Ripley over a stylistic choice in its filming.
The eight-part miniseries, based on the 1955 Patricia Highsmith psychological thriller, The Talented Mr Ripley, is the latest adaptation since the hit film of the same name starring Matt Damon in 1999.
Fleabag actor Andrew Scott plays the infamous con man as he attempts to infiltrate a world of glamour and wealth.
But some fans have been left frustrated by its defining feature: it is entirely black and white.
“I didn’t last the first episode. The cinematography is so annoying,” said one viewer.
“Why on earth is Ripley filmed in black and white? Surely the only reason to not film in colour previously was technology. Totally killed it for me, the dog seems quite OK with it though,” quipped another.
“Black and white is a good way to keep the budget down but adds nothing,” said one viewer.
Writer-director Steve Zallian revealed the decision to film in black and white had been made very early on in the creation of the show and had been inspired by his own experience.
“The edition of the Ripley book I had on my desk had an evocative black-and-white photograph on the cover,” he told Vanity Fair.
“As I was writing, I held that image in my mind. Black and white fits this story–and it’s gorgeous.”
But the sentiment appears to have been lost on many: “Really enjoying Ripley on Netflix except I’m mad as hell that it’s in black and white.
“What a crime to make a sexy crime show set in 1960s Italy and not do it in colour.”
The more artistically inclined enjoyed the cinematography, reasoning it created “an atmosphere” unlike the original movie, setting it apart.
“Great decision to film Ripley in rich black and white. It intensifies the moodiness and tension of the piece.”
But despite the success of Oscar-winning Oppenheimer, which was also shot in the same style, the old-school technique was too distracting for others.
“I would not have survived before colour television was invented. Tried to sit down to watch Ripley, but it being filmed in black and white makes it a no-go for me. It makes my eyes go all wonky,” complained one person.
Another concluded: “Why is the Netflix show Ripley in black and white? They had colour film in 1955, when the first book, The Talented Mr Ripley appeared. It’s a waste not to film Mongibello in colour…but then again I suppose the book was in black and white.”
Still, many other viewers were appreciative of the black and white depiction and have dismissed those who feel otherwise.
“People moaning they can’t sit through this gorgeous black & white cinematography… We need to bring back pretentiousness, gatekeeping & standards QUICKLY,” one person wrote on X/Twitter.
Oh my lord…
Rich, consider the source! Ms Butt is a reporter and a reader would hope she’s reporting something she has observed. And if she has observed those reactions to the black and white cinematography from actual viewers, perhaps an anime version in full color will satisfy the plebians.
Here’s how Mencken famously put it: “No one in this world, so far as I know—and I have researched the records for years, and employed agents to help me—has ever lost money by underestimating the intelligence of the great masses of the plain people. Nor has anyone ever lost public office thereby.”
Colour may have existed in the era but Fellini still chose to shoot 8 1/2 in black and white. Also a tragedy, I guess? It really would have been cheaper. Wow we have met with peak artistic intolerance I hope!
You can never tell just what drives opinions of artistic endeavors. To each, their own.
My love of B/W in films past, present and future might be summed up with this quote I read just a few weeks ago…
“Black and white has this paradoxical, transcendental quality – it’s descriptive without giving you everything. You can show how people feel. It creates a more honest portrait than color can.” – Haris Zambarloukos, GSC, BSC (from ASC 2024 awards tribute book)
I am eager to dive into Ripley, enthusiasm strengthened by this discourse, and once again enlivened by Mr Crudo’s worthy contextual intervention.
That’s weird. There are plenty of movies shot in black and white recently. I can just think of “The Lighthouse,” “Nebraska,” “The Artist,” “Roma,” “Malcolm & Marie,” “The Tragedy of Macbeth,” “Mank.” “Even shows like “Werewolf by Night” are shot in black and white. I find strange not appreciating it, especially since it’s always been around and many masterpieces are actually shot with that technique. For me, black and white removes an information in your brain, leaving you focusing on the shapes and the contrast of the visuals.