A crucial scene in Ripley, the latest adaptation of Patricia Highsmith’s classic thriller The Talented Mr. Ripley, places the eponymous grifter in Rome’s Galleria Borghese. As a tour guide lectures on Caravaggio’s David With the Head of Goliath, Tom Ripley drifts toward the painting. “Caravaggio links the killer and victim,” the docent explains, in Italian, “by portraying David as compassionate, even loving, in the way he gazes at the severed head of Goliath. And he made this bond even stronger by using himself as the model for both. Both are Caravaggio’s face.” [time-brightcove not-tgx=”true”] Highsmith never so much as mentions the artist’s name. But this moment, which takes pl
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