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The New Yorker에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 The New Yorker 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.
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Why We Want What Tom Ripley Has

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Manage episode 410623563 series 3513873
The New Yorker에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 The New Yorker 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.

In her 1955 novel, “The Talented Mr. Ripley,” Patricia Highsmith introduced readers to the figure of Tom Ripley, an antihero who covets the good life, and achieves it—by stealing it from someone else. On this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the long tail of Highsmith’s work, which has been revived in adaptations like René Clément’s 1960 classic, “Purple Noon”; the definitive 1999 film starring Matt Damon and Jude Law; and a new Netflix series, “Ripley,” which casts its protagonist as a lonely middle-aged con man. In all three versions, Dickie Greenleaf, a wealthy acquaintance of Ripley’s, becomes his obsession and eventually his victim. The story resonates today in part because we’re all in the habit of observing—and coveting—the life styles of the rich and famous. Social media gives users endless opportunities to study how others live, such as the places they go, the meals they consume, and the objects they possess. “One of the reasons that the character of Ripley is forever sympathetic is the yearning and striving to be something other than himself, following an example that’s set out to him,” Fry says. “For him, it’s someone like Dickie. For us, it might be someone online.”

Read, watch, and listen with the critics:
The Talented Mr. Ripley,” by Patricia Highsmith
“The Talented Mr. Ripley” (1999)
“Purple Noon” (1960)
“Ripley” (2024)
“Saltburn” (2023)
“The White Lotus” (2021—)
New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

  continue reading

36 에피소드

Artwork
icon공유
 
Manage episode 410623563 series 3513873
The New Yorker에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 The New Yorker 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.

In her 1955 novel, “The Talented Mr. Ripley,” Patricia Highsmith introduced readers to the figure of Tom Ripley, an antihero who covets the good life, and achieves it—by stealing it from someone else. On this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the long tail of Highsmith’s work, which has been revived in adaptations like René Clément’s 1960 classic, “Purple Noon”; the definitive 1999 film starring Matt Damon and Jude Law; and a new Netflix series, “Ripley,” which casts its protagonist as a lonely middle-aged con man. In all three versions, Dickie Greenleaf, a wealthy acquaintance of Ripley’s, becomes his obsession and eventually his victim. The story resonates today in part because we’re all in the habit of observing—and coveting—the life styles of the rich and famous. Social media gives users endless opportunities to study how others live, such as the places they go, the meals they consume, and the objects they possess. “One of the reasons that the character of Ripley is forever sympathetic is the yearning and striving to be something other than himself, following an example that’s set out to him,” Fry says. “For him, it’s someone like Dickie. For us, it might be someone online.”

Read, watch, and listen with the critics:
The Talented Mr. Ripley,” by Patricia Highsmith
“The Talented Mr. Ripley” (1999)
“Purple Noon” (1960)
“Ripley” (2024)
“Saltburn” (2023)
“The White Lotus” (2021—)
New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

  continue reading

36 에피소드

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