whole, it seems like every fictional TV or movie plot even marginally concerning wealthy characters must confront a number of familiar questions. Do the have-nots “eat the rich”? Does the story effectively make the audience want to condemn the wealthy or affluence in general?, however, refuses to engage with any of this — to its benefit.
Because as a con man, Tom can be anywhere, or anyone, at his own will, and no one can really do a thing about that. Few who aren’t rich could say the same. Rich people can and often do get away with everything, and that’s just the identity Tom needs. Dickie welcomes Tom into his lavish world, in which Tom is quick to partake — decadent dinners, gorgeous landscapes and a frothy lifestyle to boot. But the grifter is more invested in all this because here he can be anonymous and unaffected.
It makes every encounter Tom shares with any character — whether the jittery landlady, overly familiar hotel clerks, Marge, a dogged inspector or the snobby Freddie — feel almost instantly perilous. Because potential intimate exchanges are the enemy of the exempt. They make the guilty more vulnerable. But they make for excellent suspense throughout the series.All of this makes it hard not to think about the role race plays in this story. Ripley never contends with it.
Netflix Saltburn Andrew Scott Ripley
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