Exploring Light and Shadow in Andrew Scott’s Netflix Series
The incorporation of Italian painter Caravaggio’s artwork in the Netflix limited series Ripley, which received 13 Emmy nominations, was not a coincidence. The monochromatic show focused heavily on the interplay of light and shadow, a theme explored by the artist known as “The Master of Light” in his own work.
“The show’s cinematographer, Robert Elswit, known for his work in Boogie Nights and The Night Of, aimed to emphasize the contrast of light and shadow, both in the environment and on the characters’ faces,” said showrunner Steve Zaillian.
Elswit further enhanced this contrast by showcasing the series’ protagonist, con man Tom Ripley (played by Andrew Scott), moving through Italian churches. The play of light and shadow in these churches, according to Elswit, provided a natural setting for the character and storyline of Ripley.
An especially striking scene occurred when Ripley visited the San Luigi dei Francesi church in Rome, home to three famous Caravaggio works. To recreate the lighting effect of a coin illuminating a painting in the church, the crew had to replicate the scene at a different, larger church.
Elswit explained the challenges of shooting in historical church settings without electricity, describing how the crew recreated the ambiance of the churches through artificial means. The emotional impact of the Caravaggio paintings on Ripley added depth to his character, revealing a side not often seen in his interactions with others.
The presence of Caravaggio’s artwork in the churches served as emotional triggers for Ripley, offering a glimpse into his inner turmoil and appreciation for art and culture. These clues set the stage for the unfolding of the story and hinted at the dark path Ripley would eventually take.
Overall, the use of Caravaggio’s work in Ripley provided a unique perspective on the main character and his actions, prompting viewers to contemplate the parallels between Tom and the troubled artist who inspired the series.
This article was originally published in a special issue of The Hollywood Reporter magazine. To subscribe and receive the magazine, click here.