It’s a challenge to write a review saying you should see a film which features eroticisation of period blood, sensuous drinking of dirty bath water and the lead having sex with a young man’s grave, but here goes.
Emerald Fennell’s second feature film, Saltburn, offers a talented cast, gorgeous visuals and dialogue that stings like acid in the best way. The story follows Oliver Quick (played by Barry Keoghan), a mid 2000s Oxford student who doesn’t fit in with the regular students due to his tragic poverty-stricken life and Merseyside accent. After befriending Felix Catton (Jacob Elordi of Euphoria fame), the most popular of the upper-class nepo-babies, his life takes a dramatic turn when he is invited to stay at the Catton’s castle estate, the titular Saltburn. Once there, everything steadily spirals into obscenity and tragedy as the Catton’s new poverty project begins to burrow his way into the wealth and freedom provided by these oblivious elites.
Visually, a comparison with Hitchcock’s 1940 film Rebecca can be made and aptly so as Saltburn does a wonderful job of highlighting the isolation and loneliness one might feel among people who seem worlds apart from you. Linus Sandgren, the cinematographer, crafts shots that would challenge gallery paintings for their artistry. A recurring visual motif is that of reflection; in mirrors, water and immaculately polished tables who we are is reflected back at us, but only the outward form. What we are inside – deep down – can be hidden, especially when others love what you’re showing them too much to lose it.
Keoghan is perfect and while his character must do some horrendous crimes throughout the runtime, he makes each a believable action. The Cattons are a case study in craziness! Rosamund Pike and Richard E. Grant act the eccentric but empathetic heads of the family while Elordi and Alison Oliver as Venetia – in her film debut – make up the troublesome children such aristocrats must possess. Oliver’s Venetia was a highlight of the film; she infuses her character with an emotional fragility but pairs it with a razor-sharp tongue. Without giving too much away, her final scene is a masterclass as she exposes the wolf among the sheep. All that is needed is to keep the camera on her.
Come inside. Get lost. Never leave. Watch the official trailer for #Saltburn, written and directed by Academy Award winner Emerald Fennell. Experience it in select theaters November 17 and everywhere Thanksgiving. pic.twitter.com/4LO6TAt2Cl
— Saltburn (@Saltburnfilm) October 19, 2023
The biggest flaw is its predictable story. By the midpoint, the majority of audience members will correctly guess the next hour of plot and settle into their seats to enjoy the inevitable conclusion. The film, however, is not aware of this and treats said conclusion as a shocking revelation. A slightly smarter script might end on a question, leaving room for doubt and continued debate. Another re-write holds it back from the greatness it pursues. Despite this, Saltburn is daring enough in its visuals and characters to be worth at watch. The extremity of its content will turn many away, but it dares you to take a sneaky peek through the door it leaves ajar.
4/5
