A slew of negative responses to Steven Zallian‘s brilliant Ripley are highlighted in a recently posted Independent article by Maria Butt.

A fair number of people are experiencing problems, you see, with Robert Elswit‘s exquisite black-and-white cinematography

Gripe #1: “What a crime to make a sexy crime show set in 1960s Italy and not do it in color.” Gripe #2: “I didn’t last the first episode…the cinematography is so annoying.” Gripe #3: “Why on earth is Ripley filmed in black and white? Totally killed it for me, although the dog seems okay with it.” Gripe #4: “Black and white is a good way to keep the budget down but adds nothing.”

Awards Daily‘s Sasha Stone says the monochrome aversion “might be a generational thing…we olds remember a different kind of filmmaking than what the youngs are used to.”

I also think it’s due to a simple lack of cinema literacy, but you do have to wonder how these morons can look at Elswit’s exquisite cinematography and not realize what a high-end thing it is…what a sublime treasure each and every shot is?