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The oedipal principle characteristic of the nineteenth-century novel of adultery survives into twentieth-century narrative fiction too, as exemplified in two films of the late century, Fatal Attraction (1987) and The Piano (1993). In both, a marriage is disrupted by the desire of an outsider. This article begins with that comparison, and then it turns to a third example of triangulation, The Talented Mr Ripley (1999)

Daughters, death and desire in Fatal attraction, The piano and Talented Mr Ripley