Dakota Fanning Joins Andrew Scott in Ripley Series Adaptation theslanted.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from theslanted.com Daily Mail and Mail on Sunday newspapers.
The Alienist) has been cast in Showtime’s upcoming
Ripley, a series adaptation of Patricia Highsmith’s novels of con artist and serial killer Tom Ripley. She will star alongside Andrew Scott (
Sherlock), who plays the title role.
Ripley follows “Tom Ripley, a grifter scraping by in early 1960s New York. When Tom is hired by a wealthy businessman to travel to Italy and to try to convince the man’s vagabond son to return home, his acceptance of the job is the first step into a complex life of deceit.”
Fanning will portray Marge Sherwood, an American living in Italy who suspects that Tom’s affability hides darker motives. Also joining the series is Johnny Flynn (
Dakota Fanning joins Showtime s Ripley series flickeringmyth.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from flickeringmyth.com Daily Mail and Mail on Sunday newspapers.
The Oscar-winning auteur â who most recently collaborated with Martin Scorsese on
The Irishman â will direct a remake of the Patricia Highsmith adaptation for Showtime in America. (A British distributor has yet to be announced.) Leading the cast is fox-averse Hot Priest, Andrew Scott, in the role of appallingly beautiful sociopath Tom Ridley, while
Emmaâs Johnny Flynn will step into Jude Lawâs butter-soft Gucci loafers as shipping heir Dickie Greenleaf. The most exciting casting news from the project, however? Dakota Fanning will be playing Marge Sherwood, Dickieâs American girlfriend who is vocally suspicious of Tom while wearing exceptionally good coats. No word yet on who will appear as fellow American socialites Meredith Logue â played exquisitely by Cate Blanchett in the original film â or Freddie Miles (Philip Seymour Hoffman).
Patricia Highsmith, who was born 100 years ago this month, was already known as a giant of suspense fiction at her death in 1995. Since then, while the stock of some of her literary contemporaries has gone down (think of Saul Bellow, Gore Vidal, or Norman Mailer), her reputation as a writer of serious artistic and philosophical achievement has increased. The 21st century – when imposture is at the heart of online life, when self-identification precedes authenticity – seems more and more like the age of Tom Ripley, Highsmith’s greatest creation.
Less well known, however, is that the final publication Highsmith oversaw was not about murder or secrecy or guilt, but about drawing. In perhaps the last piece of writing that she ever completed, the foreword published in German in