A Talent for Murder, directed by Anton Corbijn, attempts a meta-mystery by exploring the creation of a new Tom Ripley novel, ultimately delivering a visually appealing but narratively inert film. The movie is set to release in theaters on October 22.
Alden Ehrenreich plays Edward Ridgeway, an employee of a New York literary agency tasked with convincing the reclusive novelist Patricia Highsmith, brought to life by Helen Mirren, to pen another story featuring her famous character, Tom Ripley. Highsmith is portrayed as irritable and dismissive of Ripley, the character who has long funded her career. Edward manages to secure an invitation to stay at her Swiss retreat, giving him an opportunity to pitch his ideas. The narrative quickly becomes complicated as the film dedicates a significant portion of its runtime to dramatizing the hypothetical novel Edward and Highsmith discuss.
This story-within-a-story mirrors the "real-life" plot, with Edward embodying the Ripley analogue who charms his way into the life of a woman for personal gain. This dual role for Ehrenreich initially seems like a clever conceit, but it results in both storylines suffering. The "real" plot is stripped of suspense, while the "fake" story lacks stakes. The film's central concept, while intriguing on paper, ultimately undercuts the urgency and dread typically found in effective mystery thrillers.
Despite its narrative shortcomings, A Talent for Murder boasts several merits. Mirren and Ehrenreich share a compelling adversarial chemistry, and Ehrenreich capably navigates his dual performances. Olivia Cooke provides a solid turn as Clementine Balfour, a character who functions as both a potential love interest and a victim in the fictional novel. The film is visually striking, with gorgeous cinematography by Robbie Ryan and excellent costume and production design. As the verdict states, the film offers "great gowns, beautiful gowns," but lacks genuine surprise.
The reliance on discussing a non-existent novel prevents the film from generating the suspense needed for a minimalist mystery. Unlike plays such as Anthony Shaffer's Sleuth or Ira Levin's Deathtrap, which rely on significant plot twists, A Talent for Murder fails to deliver a memorable "rug pull" moment. This lack of a dramatic climax contributes to the film feeling too leisurely paced.
Playwright Joanna Murray-Smith, adapting her own stage play, seems overly protective of her material, potentially contributing to the film's pacing issues. While Murray-Smith has prior film credits, her background in theater may explain the mismatch between the demands of stagecraft and cinematic pacing, particularly for a mystery genre. This formal disconnect hinders the film's momentum, though it doesn't entirely derail it.
Ultimately, A Talent for Murder is a pleasant viewing experience bolstered by strong performances and craft. However, its central metafictional premise prevents it from transcending its status as handsome Tom Ripley fan fiction in search of a more focused script.