“A Talent for Murder” review: Mirren reaches for the knife

In the search for the perfect murder, of course you have to consult a crime writer, even if she reacts very harshly at first – but “A talent for murder” is available to her at all times. Living in seclusion in her Swiss chalet, Patricia Highsmith, now over 70 years old (Helen Mirren) don’t even think about going through the trouble of writing a crime novel again. However, that is about to change if the young editor Edward Ridgeway (Alden Ehrenreich) goes.

He visits the celebrated author in Ticino and really wants her to bring back the fictional character of her favorite anti-hero Tom Ripley for one last appearance, because that would also be beneficial for his own career. He therefore goes to great lengths to convince them in long conversations that the artistic effort is definitely worth it. But he didn’t do the math without the clever crime lady, because she involves her unwanted guest in a morbid cat-and-mouse game that seems to be taking on increasingly dangerous traits.

Grumpy Highsmith

director Anton Corbijn (“Control”, “The American”) stages a murderous chamber play whose few characters (the third in the crime thriller group) still appear Olivia Cooke on) and many dialogues point to a play as a template. In fact, Australian playwright Joanna Murray-Smith turned her own stage play, Switzerland, into a screenplay. Her work reveals a great reverence for Highsmith, which has nothing to do with saint worship, but is rather ironic, playful and even somewhat disrespectful. We meet a Highsmith who is no longer productive: her current favorite pastime is drinking and smoking, she cultivates her hatred of people, and enjoys looking at the collection of knives attached to the wall.

A particularly sharp knife

Her guest will bring her a new, beautiful specimen as a gift, and this weapon will then play an important role in the rest of the story. Of course, with such a sharp edge there is bound to be blood, but it’s not entirely certain who is letting whom fall over the blade here, because we are on at least two levels of action – perhaps there is also a third one that will surprise us in the end. After all, the first scene already makes it clear who sets the tone and is in charge. Highsmith may be looking at a blank sheet of paper mounted in the typewriter, but a story still unfolds in her mind. It remains to be seen whether she actually holds the reins or whether her own creation outgrows her and takes on a life of its own.

Great actors make weaknesses forgotten

After “The Queen,” “Catherine the Great,” “Elizabeth I.” and “Golda”, Helen Mirren once again transforms herself into a famous female figure for this role. In her inimitable way, she is devotedly prickly and has a rough charm: you would trust this Highsmith to do anything and would be reluctant to spend a night under the same roof with her – especially if you can’t lock the bedroom from the inside. The boyish Ehrenreich initially seems like the perfect victim for underhanded attempts at intimidation and one has to fear for his health with this hostess. But not everything is as it seems at first glance.

In any case, these two actors make the film a pure pleasure for long stretches, and easily compensate for some plot weaknesses. The Ripley story developed is not exactly original, but seems rather old-fashioned and bumpy. One can only be glad that Highsmith didn’t write a sixth novel about her favorite character – If it had developed from this story, it certainly wouldn’t have been a bestseller. But actually it’s primarily about saying goodbye to a character with the last of your strength – and this goal is achieved with deadly consequences.

3 out of 5 arsenic packets next to the kitchen stove.