It's their indifference that hurts him most. Had one of them
gotten angry, blown up and demanded he leave, he could have taken
it better than their seeming to have looked him up and down and
merely shrugged, unmoved. Briefly, Ripley is at a loss. He even
tells himself he's angry enough to kill Dickie. Then a thought
comes in a flash:
He had just thought of something brilliant: he could become
Dickie Greenleaf himself. He could do everything Dickie did.
He could go back to Mongibello first and collect Dick's things,
tell Marge any damned story, set up an apartment in Rome or Paris,
receive Dickie's check every month and forge Dickie's signature
on it. He could step right into Dickie's shoes. He could have
Mr. Greenleaf, Sr., eating out of his hand. The danger of it,
even the inevitable temporariness of it which he vaguely realized,
only made him more enthusiastic. He began to think of how.
How? Why, kill the bastard, of course.
Highsmith is
a supremely talented writer, with a confident if rather cold
style and a wonderful knack for constructing addictive plot lines
that translate well onto the silver screen. (Her style--and her
penchant for dark comedy--seems perfect for Alfred Hitchcock,
who adapted Highsmith's Strangers on a Train quite effectively
and got the one performance--from Robert Walker--that Highsmith
herself said really got one of her characters right.) But it's
Ripley himself who makes The Talented Mr. Ripley so good,
I think. He's not merely a forthrightly complex character; he's
a character whose Scheherazade-like creator is willing to explicate
his psychological complexities only in circumspect, complicated
ways. Over the course of The Talented Mr. Ripley's first
one hundred pages, Highsmith teases out bits of Ripley's past
that are meant to explain (if not exactly excuse) both his penchant
for murder and his unrelenting misogyny. (Misogyny: there's another
reason Highsmith seems so perfect for Hitchcock.)
Ripley had been raised by an aunt who held the task against
him, Highsmith tells us, and she sends him infrequent, miserly
checks in odd amounts ("six dollars and forty-eight cents,
twelve dollars and ninety-five"), now that he is grown.
Here's a splendidly written scene that describes their relationship
quite nicely:
He thought suddenly of one summer day when he had been about
twelve, when he had been on a cross-country trip with Aunt Dottie
and a woman friend of hers, and they had got stuck in a bumper-to-bumper
traffic jam somewhere. It had been a hot summer day, and Aunt
Dottie had sent him out with the thermos to get some ice water
at a filling station, and suddenly the traffic had started moving.
He remembered running between huge, inching cars, always about
to touch the door of Aunt Dottie's car and never being quite
able to, because she had kept inching along as fast as she could
go, not willing to wait for him a minute, and yelling, 'Come
on, come on, slowpoke!' out the window all the time. When he
had finally made it to the car and got in, with tears of frustration
and anger running down his cheeks, she had said gaily to her
friend, 'Sissy! He's a sissy from the ground up. Just like his
father!' It was a wonder he had emerged from such treatment as
well as he had.
Surely, we're led to believe, if there's something wrong with
Ripley (and he himself is ready to admit there is), the aunt
isn't wholly blameless. Nor, as far as Ripley is concerned, are
women in general. (Isn't it the stolid Marge, after all, who
persuades Dickie to edge away from Ripley--at least in part because
she thinks him 'queer'?)
Somehow, despite the con games and the cold distance from
which he views others (not to mention the murders), Ripley is,
at heart, a good person who longs to reach out to others, to
have the family he'd been denied--but he worries that he won't
find the other person reaching out to him as well. That moment
of publicly acknowledged though unrequited need is unthinkable
for Ripley, and it's a large reason, Highsmith wants us to believe,
for his isolation and unhappiness. (Damn you, Aunt Dottie!)
Of course, Mr. Greenleaf's initially fond treatment of Ripley
as a son fuels the flames that lead to his pretending to be Dickie
in order to inherit a network of caring friends and family. But
the emotions (happiness, feeling warmth towards others, etc.)
that came so easily to Dickie are foreign to Ripley, whose rather
tortured life hasn't taught him how such things feel.
So even well into the impersonation, he has to approach Dickie's
outgoing character as if he were a Method actor, rehearsing the
lines over and over again until they ring true. In some very
real sense, Ripley is only partially human; for the rest, he
must pretend, and the fooling begins with himself. In one scene,
he even dirties a room he knows he will clean before the police
arrive because "the point of the messy house was that the
messiness substantiated merely for his own benefit the story
that he was going to tell, and that therefore he had to believe
himself." He doesn't have complete control over the pretending,
though, as he discovers after having to pretend to have drunk
too much with one of Dickie's old friends:
Tom tried to reason himself out of the hangover, because he
had had only the equivalent of three martinis and three pernods
at most. He knew it was a matter of mental suggestion, and that
he had a hangover because he had intended to pretend that he
had been drinking a great deal with Freddie. And now when there
was no need of it, he was still pretending, uncontrollably.
Ripley, it would seem, lives as a rudimentary quality--not
mere emptiness so much as an awareness of it: a largely amoral
ghost desperately in search of a soul. It's this wonderfully
nuanced exploration of a decidedly disturbing character that
makes the first installment in the Ripley series so engrossing--and
such a grand achievement, I think.
On the other
hand, the other two Ripley novels included in the new, beautifully
produced Everyman's Library edition are decidedly less interesting
psychologically, and their proffered pleasures come mainly from
their taut, satisfyingly suspenseful plot lines. Oddly, it's
almost as if Ripley is a different character now; the self-doubt
is gone, as are The Talented Mr. Ripley's neurotic interior
monologues that put us so cunningly inside Ripley's mind. Ripley
is in charge now, a born leader concerned with preserving his
miniature empire. In fact, Ripley has become the man Mr. Greenleaf
wished Dickie would become--on the surface, at least.
Although a scant six years pass between The Talented Mr.
Ripley and Ripley Under Ground (in Ripley's time,
at least; Ripley Under Ground appeared fifteen years after
The Talented Mr. Ripley, in 1970), Ripley is now thirty-one,
married into a wealthy French family and mellow enough to putter
in his garden for an hour every day. But, as he you might suspect,
his criminal inclinations are still intact.
As the novel opens, a painting bought through a Ripley-backed
gallery in London has been called a fake. The problem is simple:
it is a fake. The artist to whom it's attributed committed
suicide some years ago, and at Ripley's suggestion, a friend
of the dead artist has been painting forgeries with great success,
until now. But the astute American art collector who noticed
an aberration in the dead artist's most recent work is dangerously
close to blowing Ripley's cover story about the reclusive artist
sky-high. So after impersonating the dead artist at a press conference
(after all, he's good at playing dead guys, right?), Ripley meets
the collector and invites him to see his own collection in France,
all the while trying to figure out how to silence the man.
How? Why, as you should guess by now: kill the bastard, of
course.
Abiding themes carry over from The Talented Mr. Ripley--chiefly,
the issue of personal identity and what effects long-term role-playing
have on your 'real' self--but really, Ripley Underground is
a simple, engaging thriller.
Ripley's Game, the third novel included in the Everyman's
Library edition, is likewise a straightforward thriller, with
even less interest in identity issues. Six months have passed
in Ripley's life since Ripley Underground ended, and Reeves
Minot, who is "primarily a fence, but lately was dabbling
in the illegal gambling world of Hamburg," has approached
Ripley with a request: would Ripley--or some friend of his--be
willing to kill a couple Italian Mafia types trying to muscle
their way into the Hamburg gambling scene?
Ripley declines the job himself, but later that night, he
remembers a man who had slighted him at a party. The man--Jonathan
Trevanny--has leukemia, and Ripley decides to play "a practical
joke" on him ("a nasty one," Ripley admits, "but
the man had been nasty to him"). First, he starts a rumor
that Trevanny's most recent medical tests show he will die soon,
and then Minot approaches him with the murder-for-hire proposition
(after all, he'll need to leave his family money to get by after
his death, right?). "Tom doubted that Trevanny would bite,
but it would be a period of discomfort for Trevanny, certainly."
Yes, it's sadistic, but that's what Ripley has come to, by his
third outing. To Ripley's surprise, Trevanny accepts the offer.
But as Ripley and Trevanny discover, when you murder Mafia types,
they tend to hunt you down, no matter how well you hide.
Ripley Underground and Ripley's Game are, each
of them, strong crime novels that will you keep you reading happily
(and even, at times, breathlessly). But The Talented Mr. Ripley
is in another category altogether, and its publication in such
a handsome edition in heartening, indeed.
|