The Two Faces of January.
Sphere 2014 (1964)
With the action mostly set in Athens, Crete and Marseille — the French port an ancient Greek colony — it’s hardly surprising that Highsmith’s crime novel has the feel of a classical legend. From the title (The Two Faces of January is a nod to the Roman two-headed god Janus whose month opened the year) to a crucial scene in Knossos (reputedly the inspiration for the Cretan labyrinth) we can’t help but be aware that this very 20th-century tragedy has its affinities, its roots even, in the ancient world; for all its modern trappings the story turns on eternal human failings like hubris, that pride that can bring down both the guilty and the innocent.
This novel is a play with just three leading characters and a small cast of bit players. Chester MacFarlane is an American conman hiding out in Europe with his young wife Colette. Rydal Keener is an intelligent young American avoiding confrontation with his critical father before feeling guilty for having not attended his funeral. Chester survives under numerous aliases but has little facility with modern foreign languages like Greek; Rydal is fluent in French, Italian and Greek and so is in a position to help Chester and Colette when a Greek detective is inadvertently killed. Why does Rydal help the couple? Is it just because Chester reminds him of his father and Colette of his first love?