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‘A Talent For Murder’ Review: Helen Mirren Is Mesmerizing As Patricia Highsmith

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This flawed but highly entertaining two-hander belongs in the unique subgenre of literary biographies in which a cult author’s life is investigated through the highly specific prism of their work. Shirley Jackson, for example, was cast into a dark Gothic psychodrama in Josephine Decker’s Shirley; William S. Burroughs became a drug-addicted spy who reports to a big talking-ass beetle in David Cronenberg’s Naked Lunch; and similarly, as she waits for inspiration to strike, Patricia Highsmith communes with the spirit of her most famous character — suave psychopath Tom Ripley — in Anton Corbijn’s A Talent for Murder.

The framing device recalls classic stage-to-screen thrillers such as Sleuth and, more pertinently, Death Trap, both being one-location cat-and-mouse thrillers in which the power balance constantly changes. Here, the year is 1995 and Highsmith (Helen Mirren) is at death’s door and in exile, smoking like a chimney on the veranda of her home in Zurich. A single piece of paper is parked in her typewriter, entirely blank. Now 74, she is known around the world for “The Ripliad”, a series of five books, starting with The Talented Mr. Ripley in 1955, following the adventures of a vicious but charismatic con man and killer.

The author went on to write four more, the last as recently as 1991, but as the film opens, the writer’s publishing company wants one more. To this end, the boss sends Edward Ridgeway (Alden Ehrenreich), an unassuming junior staffer whom Highsmith instantly mocks for his baby face and awkwardness (“I know a homo when I see one”). A heightened game of wits instantly begins; Highsmith threatens to throw him out then relents, allowing him to stay for a beer. Ridgeway has brought gifts — a few notebooks, several crisp white Brooks Brothers shirts, and six tins of soup — that buy him a little more time with the old lady.

Highsmith — known locally as “The Texas Battleaxe” and the chief suspect when her neighbour’s dog is poisoned — is a piece of work, revealing herself as supremely bigoted and an equal-opportunities racist: “They may be repulsive but they know their stuff,” she says of the French, a begrudging acknowledgment of The Order of Arts and Letters that hangs on her sitting-room wall. But more than foreigners, she hates New Yorkers and especially rich, pretentious upper-class New Yorkers, a minor detail at first but one that will become more significant over time as Highsmith begins to open up about the neuroses that motivate her.

The beginning plays out almost like a horror-comedy — Highsmith’s deliciously mean, spiteful face pops up from time to time in humorously effective jump scares — and the film becomes quite farcical when, over a breakfast of scrambled eggs, she discusses the efficiency of various poisons, knowing that Ridgeway has seen the bottle of arsenic she has strategically placed in her kitchen (“Unoriginal but iconic,” she teases). But Ridgeway pushes on, trying various means — flattery, insults, amateur psychology — to cajole her into delivering a new Ripley book.

Inspiration seems to strike when Highsmith starts freestyling the beginnings of a fresh story, with Ripley in Rome. Ridgeway joins in, thinking back to his recent encounter with a well-to-do American student, Clementine Balfour (Olivia Cooke), that he met on the way, a subtle callback to Highsmith’s 1950 debut, Strangers on a Train. From here, Clementine becomes two distinct characters, both the girl Ridgeway met in real life (and will meet again in the local town) and prey for the ruthless Tom Ripley in Highsmith’s developing fiction.

The blurring of truth and fantasy is fascinating but also exactly that: Blurred. Sometimes it works brilliantly, as the unassuming Ridgeway loses grasp of his better nature, just as Highsmith says he will, somehow becoming infected with her bitterness and cruelty. The parallel story-with-in-the-story, however, in which Ridgeway (as Ripley) marries the other Clementine for her family’s money — entirely confected, by the way — is more problematic, being, to put it mildly, not terribly cinematic, with Highsmith dictating everything we see and hear at the exact same time we’re seeing it and hearing it.

Mirren, playing wildly against type, is a revelation here, perfectly inhabiting the troglodyte genius who seduced the public with their own dark reflections and resented them for the success they gave her. Meanwhile, to put it bluntly, the role of Ridgeway/Ripley would be a stretch for any actor, and Ehrenreich seems a little out of his depth when Corbijn’s film takes off in a meta new direction.

It’s all up in the air for a while but Ehrenreich rallies in time for the film’s enigmatic but strangely satisfying conclusion: This, it transpires, is not a film about Highsmith but about Tom Ripley, her very own “master of seduction”.

Is Ridgeway real or is he a death-dream manifestation of Ripley, the monster she made from her own seething id, an avenging avatar created by a woman who hated life, hated people, hated herself? Is she being taken down by her own creation, playing the same duplicitous, sadistic long game she enjoyed imagining him inflicting on his victims? It’s a fascinating question, and it’s very well posed.

Title: A Talent For Murder
Festival: Toronto (Gala Presentations)
Director: Anton Corbijn
Screenwriter: Joanna Murray-Smith
Cast: Helen Mirren, Alden Ehrenreich, Olivia Cooke
International sales: FilmNation Entertainment
Running time: 1 hr 46 mins

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Oscars: Spain Selects ‘La Bola Negra’ For International Oscar Race

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Javier Calvo and Javier Ambrossi’s breakout Cannes title La Bola Negra has been selected as Spain’s entry for the Best International Feature Film category at the 99th Academy Awards.

The Spanish Film Academy confirmed the selection this morning during a press conference.

The film explores LGBT heritage and pays tribute to murdered Spanish poet and playwright Federico García Lorca through the interconnected stories of three men in the three different eras of 1932, 1937 and 2017. The cast features Guitarricadelafuente, Miguel Bernardeau, Carlos González, Milo Quifes, Penélope Cruz, Lola Dueñas and Glenn Close.

World premiering in Competition, the picture took Cannes by storm in May, prompting a 20-minute ovation and then winning Best Director for Calvo and Ambrossi.

In the market, it sparked a bidding war for U.S. rights, with Netflix securing the film for the territory in a record-breaking seven-figure domestic deal brokered by Goodfellas and CAA Media Finance.

In Europe, the film has also sold to Benelux (Cinéart), Switzerland (Filmcoopi), Germany and Austria (Pandora Film), Greece (Rosebud), UK & Ireland (Altitude), Italy (Movies Inspired), Scandinavia (Another World), Portugal (Nitrato Filmes), Bulgaria (Cinelibri), Yugoslavia (MCF), Hungary (Mozinet), Czech Republic (Aero Films), Romania (Independenta), Baltic States (A-One Films) and Poland (Gutek Film).

In the rest of the world, it has been acquired for Israel (New Cinemas), Latin America (Cine Video y TV), Australia and New Zealand (Rialto Distribution), Japan (Transformer), South Korea (Challan), Taiwan (ifilm), Hong Kong (Edko), India (Impact Films), Thailand (Sahamongkol), Singapore (Anticipate Pictures), the Philippines (FDCP) and Airlines (Skeye).

La Bola Negra is an original film by Movistar Plus+ Film and Suma Content Films in co-production with El Deseo and Le Pacte, with the participation of Atresmedia.

Netflix will release the film on October 16.

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Richard Curtis Making BBC Audio Sitcom With Bill Nighy, Jim Broadbent

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EXCLUSIVE: Richard Curtis is returning to the sitcom game, this time through audio.

The Vicar of Dibley, Blackadder and Mr Bean writer-director is making Greatest Living Writer for BBC Radio 4 starring Bill Nighy, Nicola Walker, Nick Mohammed, Jim Broadbent, Meera Syal and Traitors star Madelyn Smedley. It is Curtis’ first sitcom in nearly 20 years and his first for audio.

Launching on Boxing Day on Radio 4 and as a BBC Sounds box-set two weeks prior, the series centers on John Westlake (Nighy), a literary titan whose towering genius has earned him global reverence, lifelong indulgence, and absolutely no useful social skills. As those around him absorb the blast radius of his genius, the series plays with creativity, legacy, literary celebrity, family, and the uncomfortable truth that being good at writing does not necessarily make you good at being a pleasant person. The character draws comparisons with the iconic Billy Mack, who Nighy played with aplomb in Love Actually.

Curtis is an Oscar-nominated British screen legend whose movie credits include Notting Hill and Four Weddings and a Funeral.

His last TV sitcom was The Vicar of Dibley, which concluded on the BBC in 2007. He has recently turned to animation: writing and producing Netflix’s That Christmas in 2024 and now producing Not Alone for Universal.

Curtis said: “I’m loving working in this tight 15” minute format for the BBC – writing for performers I know and love – and writing something that’s about the creative world I have such direct experience of, as it crashes into family dynamics.”

Script editor Emma Freud added: “Of all his writing, this is the closest Richard has written to his life, his world, his home and his experiences. It’s been a joy to see the scripts flowing out of him – I’ve never seen him write so fast or enjoy the process as much. He isn’t the brute at the centre of this comedy – but that brute is, I think, how he would secretly like to behave if he could. Which he can’t.”

Goldhawk ProductionsGreatest Living Writer is produced by Emma Hearn, John Scott Dryden and Alex Hollands and script edited by Freud. It comes on a BBC audio slate that includes pilots from Nish Kumar and Jake Bhardwaj, along with stand-up and quiz shows.

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Jodie Whittaker To Star In ITV Drama ‘In Contempt’

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EXCLUSIVE: Jodie Whittaker‘s next starring role will be a hotshot media lawyer in ITV drama In Contempt.

Ahead of her role in Hulu pilot Chicks and a part in the London-set Only Murders in the Building Season 6, Whittaker will star in the “high-stakes” legal drama as barrister Olivia Savareid.

The character’s top-drawer advocacy skills have built her a career defending people’s reputations and engaging in multi-million pound litigation to prevent their names from being destroyed on social media, but the series will see the tables turned on her.

Sherlock and Dracula maker Hartswood Films is producing in association with its parent, ITV Studios (ITVS), with the show airing in the UK on ITV and STV and on streamers ITVX and STV Player. ITVS has international distribution rights.

Steve Thompson (Sherlock) is the writer, with Sue Vertue and Steven Moffat the executive producers. Ed Bazalgette (The Last Kingdom) is the director and Lawrence Till (Douglas is Cancelled) the producer. ITV’s Director of Drama, Polly Hill, who commissioned the show is also overseeing production for the broadcaster.

In Contempt establishes Olivia’s challenging working relationship with veteran news director Greg Dalman, who edits a London daily newspaper prone to pushing the boundaries of what can be published. With a reputation for taking no prisoners, Greg has the capability of acting recklessly if he believes it’s in the public interest, and and as his legal counsel, Olivia, must summon all her skills and expertise to keep him out of libel court.

She is also the mother of 15-year-old daughter, but when an explosive situation erupts at work, she makes a crucial misjudgement and Olivia’s own reputation is suddenly on the line.

“There’s always been a voracious appetite for what happens behind the scenes before news stories are published,” said ITV’s Hill. “Steve has created a gripping and thought-provoking series and I’m thrilled Jodie Whittaker has agreed to play ‘hotshot’ lawyer Olivia Savereid. I have no doubt In Contempt will captivate our audience, as it’s a really timely story for ITV to be telling.”

Whittaker, known for leading Doctor Who and ITV drama Broadchurch, said of her role as Savareid. “This is an amazing character in a world I haven’t explored before. Steve Thompson’s writing is an absolute joy to work with and I’m so excited to be embarking on this adventure with such a brilliant creative team at Hartswood Films and ITV.”

Vertue said she had been seeking to work with Thompson again since BBC series Sherlock, but that “it was never the right time or the right idea” until now. “Then one day he sat down and said, “In the modern world, if you want to kill someone, you don’t use a gun – you destroy their reputation,’ and so began In Contempt.

“A whirlwind drama of cancellation, online poison and media law, where there’s less than 12 hours to stop a headline that could detonate someone’s life. This is the story of now, and this is the series for today. I’m delighted to be working with ITV again and to bring to screen Steve Thompson’s most explosive and personal drama yet.”

Thompson called the show “a signature piece for me”, adding: “It unpacks the challenging relationship between the media and the law – between the freedom of the press and people’s right to privacy. In a world where all of us are surfing the net, hungry for the latest gossip, this drama takes us behind the curtain and shows us the lawyers who are in the vanguard of that fight.”

In Contempt will begin filming in London in the fall with further casting coming closer to production commencing.

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