Saltburn review
By Anthony Heron
Saltburn performed well at the worldwide box office, grossing $20.8 million dollars.
Every few years a film comes along that manages to capture the spirit of a generation. Emerald Fenell’s “Saltburn” may have done just that, with both its excellent performances and stunning cinematography.
“Saltburn” follows Oliver Quick, played by Barry Keoghan, an introverted student at Oxford University when he is invited to the estate of Felix Catton, played by Jacob Elordi, and his wealthy family for the summer, and the sinister series of events that take place over those few months.
Barry Keoghan is the highlight of the film by far. Having already built a stellar filmography for himself in the past few years, this performance looks like it could catapult him into the A-list. Keoghan manages to portray Oliver as sympathetic, deranged and cunning, often switching between the three at will. For many actors this would come off as inconsistent characterisation, but Keoghan pulls it all together so that it makes perfect sense for the character.
Jacob Elordi is also magnetic in the film. Felix Catton is charismatic and intriguing in a way that is completely different to previous roles he’s played, primarily Nate Jacobs in “Euphoria” and Elvis Presley in “Priscilla”, both of whom were violent narcissists. Elordi gives Felix a likeability that is captivating.
Emerald Fennell's direction is also something to be admired. It’s clear she’s put a lot of thought into the aesthetics of the film, and it pays off. The grandeur of both the Saltburn estate and the lifestyle of the Cattons is evident with every shot, making the viewer understand why it’s all so alluring for Oliver. This pairs well with the film's whip-smart dialogue. Each scene has at least one memorable line and despite the dark subject matter, the film is oftentimes quite funny. The way the characters talk is sometimes almost Shakespearian, which suits the film both thematically and story-wise. The film is sure to become endlessly quotable in the next few years as it continues growing its fanbase.
The biggest problem with “Saltburn” however, is that it’s too ambitious. It’s clear that Emerald Fenell wants to say something about class, wealth, or greed in this film. But she doesn’t commit to any of these themes enough to actually say anything interesting. The film’s themes of obsession are both more developed and more interesting. They almost turn the film into a throwback to erotic thrillers of the 90s like “Basic Instinct” or “Cruel Intentions”. This isn’t evident on a first viewing, as the viewer is too distracted by the stacked ensemble class, the stunning visuals, and a solid soundtrack filled with mid-2000s gems.
“Saltburn” is a fun but shallow two-hour romp. The performances and visuals carry the film, while it struggles to create any deeper connection. However Emerald Fenell does show great potential as a director, and her next project will be possibly her most anticipated yet.