**This movie is rated R and contains disturbing violent, and sexual content.
Luckychap Entertainment released “Saltburn” theatrically on Nov. 17, 2023, and it quickly became everyone’s new love-it-or-hate-it movie, subsequently blowing up on social media. By the time of its Amazon Prime streaming release in the U.S.A on Dec. 22, 2023, the peculiar movie starring Barry Keogan (best known for his performance in the 2023 version of “The Batman”) and Jacob Elordi (known for his roles in “Euphoria” and “Priscilla”) had everyone on the edge of their seats—or turning off the movie halfway through.
“Saltburn” follows Oxford College freshman Oliver Quick (Keogan), as he forms an unlikely friendship with his aristocratic classmate, Felix Catton (Elordi). Under unfortunate circumstances, Felix invites Oliver to spend the summer with his eccentric family: his mother, Lady Elspeth (Rosamund Pike), his sister, Venetia (Alison Oliver), his father, Sir James (Richard Grant) and his cousin, Farleigh (Archie Madekwe) at their manor, Saltburn. However, everything is not what it seems as horrible events soon terrorize the entire Catton family.
Director Emerald Fennell collaborated with Cinematographer Linus Sandgren to evoke an eccentric and erotic emanation. When creating the film, both Fennell and Sandgren took inspiration from gothic vampire movies along with famous Italian paintings, specifically Caravaggio. There also was an emphasis on vibrant illustrious colors that made the sets look animated, which transformed the audience into another world. Sandgren also made the decision to shoot on film to establish just how old their money is.
At the beginning of the film, when Oliver first comes to Saltburn, Felix gives him a tour of the estate. The camera takes the audience through the manor displaying the family’s extravagant wealth, but the entire time Felix is placed in the middle of the frame, captivating the scene. The framing not only delivers an understanding of who Felix is as a character but also connects the audience to Oliver’s mind. Felix’s beauty is so consuming that the environment around Oliver vanishes, and all focus is on Felix.
Fennell had a clear image of the movie she wanted to produce from the beginning, even down to the score. So much so that she barely worked with Music Supervisor Kirsten Lane. Instead of having Lane choose music, she was more useful in just helping to get approval for using it. Fennell included hits from the early 2000s, such as “Mr. Brightside” by The Killers and “Murder on the Dancefloor” by Sophie Ellis-Bextor, adding to the overall 2000s nostalgia.
Throughout the film, there are various dinner sequences that are intricately designed so the scene appears as a painting. At these dinner scenes, the characters are dressed in tacky, unexpected outfits that almost mock their own wealth, with the men in suits and the women in eccentric frocks. The camera will capture a wide lens to show the grand table and room, then focus closely on characters to portray their disinterest in their own privilege.
Furthermore, Fennell establishes British culture by styling characters saying, “the less you dress up, the richer you are,” using customer designer Sophie Canale. Despite the Catton family’s “dress for dinner” rule, they all seem to have a sense of personal style.
While watching “Saltburn,” viewers will be overwhelmed with the bizarre costumes of Elspeth’s friends, Pamela (Carey Mulligan) and Venetia, admiring the beauty of Elspeth and Felix and appreciating the fleeting conventionality of Oliver. Oliver goes through costume evolution throughout the film, starting all buttoned up and constrained and ending naked and vainglorious.
Fennell, known for her previous film “Promising Young Woman” (2020), another dark-comedic thriller, told Polygon in an interview that she wanted “Saltburn” to be a way to “break boundaries” and “introduce transgressive desire.” Whether the movie disgusted or intrigued you, there is no denying that Fennell achieved those intentions. With her knack for going beyond expectations and unique approach to mixing various genres, Fennell could perhaps become one of the most renowned directors of this generation.
“Saltburn,” while intended to be an account of the dark side of parasocial relationships, functions best as a satirical meta-commentary on the hypocrisy of the age-old slogan, “Eat the rich.” Or, as Fennell puts it, “Lick the rich, suck the rich, and then bite the rich, and then swallow them.” Oliver takes the role of the common man, one who stands against the ‘tyranny’ of the rich, while the Catton family lives as the glutinous, unsympathetic wealthy. The movie puts you on Oliver’s side, pitying him and looking down on Felix’s family, when in reality, Oliver himself is not what he seems.
“Saltburn” offers viewers a captivating and gripping viewing experience perfect for theorists and psychological-thriller enthusiasts alike. While the content may not be suitable for all audiences, it is a movie that will haunt your waking days in the best way possible.
