Emerald Fennell’s second directorial feature, Saltburn, joins the growing list of “F**k-the-rich-people” flicks that have gained popularity in recent years, with notable examples including Ready or Not (2019), The Menu (2022), Bodies, Bodies, Bodies (2022), etc. The film is a thrilling ride for the most part but takes a wrong turn towards the end.
Saltburn revolves around Oliver (Barry Keoghan), who is accepted to Oxford University but has difficulty settling in and making friends. Soon, he is captivated by Felix Catton (Jacob Elordi), a fellow student and a charming aristocrat who is hugely popular and enjoys all the material possessions one could desire. Felix takes notice of Oliver after he helps him out of a problem, and the two quickly become friends. Slowly, Oliver seeps into Felix’s clique of pampered brats, who dislike being around him because he wears thrift shop clothes, and they find him uninteresting to talk to. Among them is Felix’s queer cousin Farleigh (Archie Madekwe), who is suspicious of Oliver’s intentions as he tries to maintain his spot among the cool kids while leeching off the Catton family’s wealth. Felix keeps Oliver around out of pity since he confides in him about his tragic past, which includes his parents’ drug dealing and addiction. As a result, Oliver gets invited to Felix’s sprawling house, Saltburn, for the summer, where he meets Felix’s mother, Elspeth (Rosamund Pike), the father, Sir James Catton (Richard Grant), and his sister Venetia (Alison Oliver). When Oliver begins to settle in and enjoy the privileged lifestyle, new secrets emerge, changing the dynamics of Oliver and Felix’s relationship and impacting everyone’s lives at Saltburn.
The first half of the film is breezy and moves along nicely, emphasizing Oliver’s infatuation for Felix and his yearning for a taste of high life. With the help of her cinematographer, Linus Sandgren, and production designer, Suzie Davis, Fennell creates a gorgeous, wicked, and slightly unsettling world. After the action moves to Saltburn, the screenplay takes its time to introduce us to Felix’s bourgeois family, who behave like entitled pricks and belittle people who don’t measure up to their standards. For example, there is a scene in which Oliver is about to walk into a large room where the Catton family is sitting and watching Superbad (2007); he overhears them passing disparaging remarks about him and gossiping about things like how his parents are drug dealers, how his mother’s intoxication indicates that he was born drunk, how horrifying things happen to him because he is poor, etc. Regardless, Oliver slowly acclimates to the new environment and starts individually winning over the family members. The film manages to hold your attention for most of its runtime, mainly due to the introduction of the eccentric characters, Barry Keoghan’s stellar performance, Fennell’s stylish direction, and the suspense of the story’s eventual course. As Oliver’s character unfolds further, Fennell goes wild with her imagination with scenes like him drinking water from the tub where Felix has masturbated or making out with Venetia by fingering her while she’s on her period, then licking the finger and passionately kissing her. The point of these scenes is to illustrate Oliver’s unpredictable personality and to show the audience that he is not who he claims to be. However, in light of the film’s conclusion, do these scenes enhance or add layers to his character and explain his erratic conduct? The answer is obviously no, and it feels like the reason for including these scenes is purely for shock value, but even that falls flat and makes the whole thing laughable.
By the conclusion of the second act, the film reveals some shocking information about Oliver, causing Felix to distance himself from him. In an attempt to reconcile, Oliver tries to reason with him by stating that everything he did was because he didn’t want to lose him as a friend. And when you think the film is heading down a path where Oliver’s actions appear to be driven by love and childish infatuation, Fennell shifts gears and exposes an alternate motive—one that is ultimately fueled by a deep-rooted hatred. Even though the diversion was a laudable decision, there isn’t enough characterization, particularly Oliver’s, to warrant it. Upon viewing the film, I never felt any prior hint or indication about Oliver’s character that would enable the audience to justify or understand his actions. As a result, the film falters towards the end, and the themes that director Fennell tries to explore (like classism, identity, etc.) remain half-baked and on the surface.
Saltburn movie links: IMDB, Letterboxd
For more movie reviews and recommendations, visit our homepage
1970s 2023 Action Adventure alfred hitchcock Australian films black and white Buddy Comedy classic movies Crime criterion collection denzel washington Drama free movies on youtube Gangster Giallo great films Horror indian movies italian movies low budget filmmaking lucio fulci Mystery Neo noir netflix netflix movies new movies Noir one false move Period Drama police procedural political thriller Psychological thriller Revenge reviews Sci-Fi Slasher Spy movies supernatural suspense the psychic Thriller war Western whodunit
