Top positive review
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Dead bodies and love triangles tend not to go together well
on May 19, 2015
Patricia Highsmith’s wonderfully deviant, amoral characters set her books apart in a genre where sociopaths are the norm and just about essential for any psychological thriller worth its salt. No other suspense author drills down into the inner workings of their players quite like Highsmith did. Much of the reason is that she took her time to build her characters, letting small details work their tension, blending the mundane with the immoral so that we as readers identify with some fairly reprehensible people before we can be repelled by them. A saved letter about an unattended funeral speaks volumes about a young man’s feelings towards his father, allowing us to comprehend his later actions. A man’s love for his young wife makes us overlook a good deal of his criminal behavior. In Highsmith’s novels it’s not easy to discern the hero from the villain and often, as in her popular Ripley books, it’s the criminal (usually murderer) we end up rooting for. The same forces are at work in The Two Faces of January but to a subtler degree. You won’t find a truly good person in these pages but it doesn’t matter. In this story of three expat Americans who cross paths in early 1960s Athens, you’ll want at least one of them to get away with breaking the law.
Rydel is a wandering Peter Pan living off his grandmother’s money, putting off the inevitable trip back to the US to face responsibility and tedium, when he encounters Chester, a crooked stockbroker on the run, who accidentally kills a Greek policeman who is onto him. For no other reason than Chester reminds Rydel of his father, Rydel helps Chester hide the body and acquires forged passports for him and his comely wife, Colette. Chester then invites Rydel to accompany him and Colette to Crete to help the couple navigate their way out of Greece, beyond the reach of the authorities (Rydel speaks Greek and has shady connections). But Colette’s infatuation for Rydel upsets the applecart, and Chester sees red. No one seems to think twice about the death of a policeman, let alone marital vows. It may even feel like love--for two of the three anyway--but it doesn’t end well.
Rydel is one of Highsmith’s better creations, quite affable as he keeps veering away from doing the right thing. He just can’t seem to. The reader understands. Chester is a perfect villain, because he knows who he is. Colette is a well-nuanced temptress, made of real flesh and blood, with a heart and soul. The secondary characters in this novel are all Highsmith quality as well.
I’m not sure why this book is trending towards three stars in the ratings—it’s one of Highsmith’s better ones, with its simple tale of three people who think they can do no wrong but end up doing an awful lot of it.
My only minor disappointment came in the final few pages, where I was hoping for one final twist that didn’t come. The ending I envisioned seemed glaringly obvious to me but Patricia Highsmith clearly wasn’t thinking what I was thinking when she penned this book—or maybe she didn’t want to be predictable. But it works, and redeems one of the characters.
Regardless, by the time Two Faces is rolling, the plot feels inevitable. And that’s the mark of a master.