Famously referred to as "the poet of apprehension" by Graham Greene, novelist and short story scribe Patricia Highsmith had singular insight into the dark side of romantic relationships. Having had her works adapted into films now more than two dozen times, this is a creator who was able to use a uniquely bleak view on humanity to tap into some unsettling truths in regard to the jealous, possessive, and controlling aspects of love.

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Though on a personal level, Highsmith may have been at best unpleasant, there's no denying she created some of the thriller genre's best-known classics, and we're still seeing adaptations of her works to this day. With Deep Water just around the corner, starring Ben Affleck and Ana de Armas and directed by famed 9 1/2 Weeks and Fatal Attraction director Adrian Lyne, there is no time like the present to delve into other adaptations of Highsmith's work.

A Kind of Murder (2016)

This film is based on The Blunderer, a novel in which a man named Walter has grown to resent his wife due to her manipulative and petty actions. He becomes obsessed with the case of a bookstore owner named Kimmel who is under investigation for his wife's death, going so far as to visit the bookstore in hopes of gaining insight into Kimmel's actions. When Clara dies suddenly, Walter himself is a suspect.

While that is happening, a detective is investigating both Walter and Kimmel, convinced that they are both guilty. A story about obsession as well as the way assumptions can guide our actions in corrupting and self-harming ways, the novel on which this is based is one of Highsmith's moodiest works. Though neither the novel nor the film adaptations thereof (including 1963's Enough Rope) are considered the best representation of a Highsmith thriller, it's impossible to fully dismiss the thoroughly bleak outlook on humanity both succeed in delivering on. Performances, pacing, and atmosphere are what make this a solid entry in the Highsmith canon.

Purple Noon (1960)

Though its themes stray enough to be only loosely based on The Talented Mr. Ripley, this hidden gem manages to perfectly capture why Ripley is such a compelling character. The film that made Alain Delon a star in France, this take on Ripley is the embodiment of a man who looks in the mirror and sees no one looking back. Following familiar cues for anyone who has read the novel, Tom is sent by a wealthy man to encourage his son to return home to take over the family business.

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However, when the two hit it off, Tom is effusive in his praise and adoration for the son, named Philippe, and his girlfriend, Marge. This becomes irritating to Philippe, who acts in an increasingly cruel way until Tom reveals his true plan of taking over his life. Beautifully shot and haunting, Purple Noon is a must-see.

Strangers on a Train (1951)

Alfred Hitchcock had been directing for more than three decades by the time he took on Strangers on a Train, and had been considered one of the American Film Industry's heavy-hitters since at least dating back to the smash success of Rebecca (1940). However, when it comes to the psychological thrillers that he is today known for, this is easily one of his masterworks. Following the tale of two strangers that meet, you guessed it, on a train, this was filmed quickly after the release of the novel in 1950 and remains one of both Hitchcock and Highsmith's best-known works.

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Centering around Guy Haines, we learn that he longs to divorce his cold and calculating wife in order to marry a woman named Anne. The remorseless Bruno suggests that they "swap murders" to avoid being caught, but after he holds up his side by killing Guy's wife, Guy begins to have second thoughts. However, Bruno isn't the kind of guy you can say no to, and it leads to an exhilarating stand-off between them as Guy tries to think of a way out of his terrible predicament.

The Cry of the Owl (2009)

A man named Robert is undergoing a divorce, and he begins casually stalking a woman named Jenny, who lives in the woods. Viewing her existence as idyllic and removed, he is surprised when she catches him watching her and invites him in. Tables turn as she becomes convinced that they are meant to be together and breaks things off with her fiance. When the fiance and Robert end up in a violent altercation, Robert's life quickly begins to fall apart.

This film had a strange release schedule and as such fell under many people's radar upon its release, but it's a captivating adaptation of one of Highsmith's strangest stories. Performances are top-notch, including a highly underrated turn as Jenny from Julia Stiles. An impressive outing on the nature of obsession that ultimately refuses to fully absolve anyone of its consuming effects, The Cry of the Owl is an underrated gem.

Carol (2015)

Though many of Highsmith's works were thrillers about the more unkind elements of interpersonal relationships, The Price of Salt remains a surprise stand-out for its relatively generous view of a magnetic affair between Carol, a rich but unfulfilled trophy wife and mother, and Therese, a temporary department store sales clerk. It can't be understated that Salt was very much a product of its time, during which lesbian-themed texts would only be published if there was a salacious hook for the story and the lesbian affair was doomed and generally frowned upon in the narrative.

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This novel, as well as the film adaptation thereof, views the attraction between Carol and Therese through ultimately accepting eyes, granting them an ambiguous ending that implies the affair has not come to a close. Here, homophobia is the enemy, not the love between these two women. The gentle, gorgeous cinematography and enchanting characterization of its subjects are what make it such an unforgettable adaptation of one of Highsmith's greatest achievements as an author.

The Talented Mr. Ripley (1999)

Of all of Highsmith's works, none captured the public consciousness the way that The Talented Mr. Ripley has. While Purple Noon focused on the beautiful and disturbed nature of Tom Ripley, the 1999 take follows the novel a bit more closely while also showing the terrifying ambition that lies beneath his need for adoration.

The central cast of Jude Law, Matt Damon, and Gwyneth Paltrow each do some of the best work of their careers, and the timing of the revelations can be a shock even for someone who has read the book and generally knows where the story is going. Though released as the decade was coming to a close, no list of "Best '90s Thrillers" could be complete without a nod to this tense ride through the inner workings of Ripley's mind.

Throw Momma From the Train (1987)

Acclaimed actor Danny DeVito's second outing as a director, this film is more inspired by the Hitchcock adaptation of Strangers On A Train than the novel itself. Still, its cynical and frustrated take on two hard-to-love male characters is perfect Highsmith, with a bit of DeVito's wry sense of humor and a handful of excellent performances thrown into the mix.

Billy Crystal plays a novelist whose ex stole and sold his novel and became incredibly rich and well-known as a result, while DeVito seeks to be rid of his mother-from-Hell (played to critical acclaim by the great Anne Ramsey). While Strangers focused on a hapless main character who ultimately freed himself of a vindictive murderer, Momma is much more about refusing to allow obsessions to fester and control us, making it a bit of an antithesis of much of Highsmith's work.

Eaux Profondes (1981)

For anyone who enjoys the novel or recent adaptation of Deep Water, there are a handful of other takes on the story including a made-for-TV German version titled Tiefe Wasser in 1983. However, the first film adaptation was Eaux Profondes, which follows much the same story of the novel. Melinda is permitted to have as many affairs as she likes so long as she does not desert her family, but her husband Vic's mental state rapidly deteriorates as a result.

Though this isn't the easiest movie to track down at present, one hopes that the increased interest in the story will make it easier for audiences to find. At any rate, while we're looking forward to Ana de Armas' portrayal of Melinda, the great Isabelle Huppert offered up an iconic performance of the same character while still relatively early in her career. These two takes played side by side would make a solid double feature.

The Two Faces of January (2014)

A complicated web of lies and deceit unfold as husband and wife duo Chester and Colette tour Greece, encountering a man named Rydal. Both Chester and Rydal are scam artists, and when they are caught in a murder mystery, they alternately attempt to rely and get one over on each other. As such, a larger tale of each man's personal failings begins to play out. A handful of accidental deaths and various misunderstandings later, this ends up being quite a wild ride of a film.

As the directorial debut of screenwriter (and noted Highsmith reader) Hossein Amini, it's clear that there was a lot of thought put into this take. The script takes every opportunity to show exactly why Chester is an awful person while pronouncing the deeper tragedy of a man so caught up in his own manipulations that it can't help but cost him the one thing he truly cares about. When it comes to great Highsmith novels, this is one of her best, and the stellar performances from Viggo Mortensen, Kirsten Dunst, and Oscar Isaac make this a much-see for any thriller fan.

The Glass Cell (1978)

This is German adaptation that is not particularly easy to find, but we would be remiss if we didn't include this disturbing portrayal of a man imprisoned due to false evidence in a list of great Highsmith adaptations. Tortured in prison and treated terribly for a crime he didn't commit, the changed man is released only to discover that his wife and lawyer are having an affair.

One of the takes on her work that Highsmith was personally fond of, The Glass Cell manages to combine the general bad vibes of a standard thriller with a good deal of political commentary. Possessing overtones of Crime and Punishment, this work is highly critical of the judicial system and treatment of prisoners and is backed by extensive research on Highsmith's part. That all very much bleeds through into the film version, making this a difficult movie to easily define as it shows the complexity of a prisoner's release back into "normal" life through the tropes of the genre, creating something ultimately quite unique.

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