Movie Review: “Saltburn” (2023), the glory, the gore and what makes a film good
In the past few years, there has been a cultural rise in class-aware media — more specifically, a boom in the ever-catchy chant, “Eat the Rich”. TV shows like “The White Lotus” and “Succession”, movies like “Parasite” and “Knives Out: Glass Onion”, and many more all use satire to create a tongue-in-cheek commentary on the ghastly nature of being wealthy in an ever-increasingly divided society. At this point, they’re nothing new. Still, when Emerald Fennell released the trailer of her new film “Saltburn”, the promise of a newer, ghastlier, more beautiful take was irresistable. And Fennell does deliver.
“Saltburn” is a story that aesthetically floats somewhere between dark academia and y2k maximalist mania — an uncomfortable combination that reflects the uncomfortable experience of watching this film. It follows Oliver Quick, a quiet, socially awkward student of Oxford in 2006, as he begins to interact with the university’s effortlessly popular and carelessly wealthy student Felix Catton. After the two bond despite their apparent social differences, Felix invites Oliver to stay at his estate, Saltburn, for the summer, with the promise that he can leave anytime he likes. A voiceover from an older Oliver, which narratively guides the audience throughout the film, gravely notes that this was not true — a fact the audience witnesses firsthand as the movie unfolds, but with a few terrible twists along the way.
The Glory and Gore
It is impossible to discuss Saltburn and not discuss what Fennell excels at: aesthetics. The film is shot in 4:3 aspect ratio, which both looks like old film and a 2000s music video. The colour grading is gorgeous and rich. Oxford is dark, studious and full of yearning; meanwhile Saltburn is bright, open and full of curiosity. Every shot of the film evokes nostalgia, be it for old English money or the mad, maximalist ventures of y2k fashion. Each shot is so full to the brim with visual detail, contrast, insanity. Even the academia isn’t quiet or structured as we expect; instead, Oxford seems to almost fester with denim miniskirts. The red carpet Felix lies on as he complains of the heat looks as grubby and dusty as it does luxurious. This film doesn’t linger on ideals of high class elegance — it leaves you squirming in discomfort at the unkempt garishness of old wealth wearing away. Later, when Oliver and the audience see Saltburn from the inside for the first time, Fennell lingers on a shot of the chandelier and the used flypaper absently hanging from it.
Juxtaposition, as seen in Fennell’s directorial debut, is part of her style. Just like its predecessor, “Promising Young Woman”, did in dreamy pastel shades, “Saltburn” uses vintage, rich shots to make the audience squirm in discomfort. The film’s most uncomfortable scenes are also some of the most beautiful: Oliver and Venetia’s tryst in the moonlight is Gothic and (pun intended) vampiric, even as it makes you try not to retch. Oliver’s moment at the graveyard is a long, solemn shot that is both a painting of grief while also bordering necrophilia. It’s one of the smartest parts of Fennell’s filmmaking. In “PYW”, the audience is constantly shown shades of girlhood pink while being faced with the horrific, chaotic side of womanhood. This time, in “Saltburn”, the audience watches the stomach-turning madness of Oliver and Felix through a nostalgic, retro filter. Fennell doesn’t just tell the audience to be shocked — she primes them for it.
Something else which Fennell achieved with “Promising Young Woman” and “Saltburn” is her effortless use of humour. Rosamund Pike in particular, with her ever-sincere and unbearably polite delivery, is absolutely hilarious. “I was a lesbian once, but in the end it was all a bit too wet for me. Men are so lovely and dry,” she says, friendly, to a fascinated Oliver. The film gets a good few snorts out of its audience, even after some of its tantalizing twists, mostly from Rosamund Pike and Carey Mulligan. It definitely earns its black comedy title with the last shot of Oliver dancing throughout the mansion, which makes you fight back a disturbed laugh for sure. In typical 2000s fashion, it doesn’t try and take itself too seriously, which makes for a very fun watch.
Although Rosamund Pike is easily the most memorable character in the film, probably a standout casting for me was Jacob Elordi. This is despite the fact that his British accent faltered throughout the film (his real accent is Australian). Elordi is known to play bad boy characters with a dark twist, from Nate in “Euphoria” to Elvis in “Priscilla”. “Saltburn”’s trailer and vague similarity to “Bridesheads” implied that Felix’s character will also take that turn - but it never does. Felix stays, if a bit spoiled, probably the sincerest, most well-meaning character in the film. His smiles are sincere, his brown eyes are always warm. His cruelest moments are petty unkindnesses, like lying to Oliver to hang out with his other friends, or getting annoyed with him for kissing his sister. His last outfit of the film is quite accurately that of an angel. Despite being a 6'4, heavily muscled actor towering over his counterparts, Elordi always comes off as gentle and good-hearted, and it’s hard not to appreciate that.
What makes a film good
Despite how enjoyable the film is to watch, it is still worth noting that Fennell still faces the problem she had in her debut. The final act of the film doesn’t pay off as sweetly as it should. As the members of the Catton family begin dying off, it becomes all too easy to guess why. Oliver’s behaviour throughout the film has been desperate, obsessive, unhinged — it’s not shocking when we finally pan out from older Oliver’s monologue to an intubated Elspeth’s bedside. For a movie that has been peppered with delightfully shocking scenes and frames throughout, it’s hard not to be a bit disappointed. Fennell could have given a bit of outsider perspective — a return of Farleigh or even Oliver’s parents could have helped wrap up the film with more shock value, but oh well.
As a watch, “Saltburn” reminds me in a terrible way of girlhood. The unbearable side of being young and obsessive and clinging desperately on to the desire to have someone, or be someone, or maybe become them. Crawl inside their skin and inhabit it, not as a thief, but as a voyeur, a watcher, a ghost always on their shoulder. Fennell has said the movie is a tribute to beauty and our ugly obsession with it, and there’s nothing that describes girlhood better than that. This film is made nostalgics millenials, teenagers looking for their ugly emotions to be splayed on a screen, and perhaps black comedy fans. Could it have done more? Maybe. But does that make it “not good”? Absolutely not. In terms of memorability, charm, cinematography, and acting, “Saltburn” is absolutely worth the watch and the recommendation. Just be warned: you won’t want to drink anything red or white during your watch.
(4.5/5 stars)
