The world of the grotesquely wealthy is a complicated narrative to explore. As common folk, the less fortunate among us have, for centuries, held both fascination and disdain toward those dripping in better, more comfortable means. The idea of eating the rich is nothing new, but the notion is seldom explored from the inside out, as well as Emerald Fennell’s latest feature, SALTBURN. Masterful, subversive, and shocking, SALTBURN is, without a doubt, an unforgettable experience.
The film tells of a poor Oxford student, Oliver (Barry Keoghan) – shamefully accepted due to scholarly merit rather than socioeconomic status – who settles into an infatuation with a fellow student, the affluent and charming Felix (Jacob Elordi.) Oliver is invited to spend the summer at Felix’ absurdly lavish home estate, Saltburn, where their lives begin to entwine in unbelievable and shocking ways.
Casting here evokes the very definition of “ensemble.” The entire cast, in fact, understands the rich text (pun intended) down to each bit of punctuating nuance. To call Keoghan’s performance brilliant is an understatement. He is all at once pitiable, relatable, frightening, and sexy. Elordi, who’s having a bit of a “moment” right now, plays Felix with such breezy charm and compassion one can’t help but suspect his intentions. Rosamund Pike, as matriarch Elspeth, in particular, deserves recognition for accomplishing such a fascinating and out-of-touch level of ethereal absurdity. Additionally, Fennell-favorite Carey Mulligan, as “Poor Dear Pamela,” mustn’t go unnoticed, in spite of a brief appearance.
The mansion itself ought to be counted as a character. Filmed at the sprawling Drayton House in Northamptonshire, the behemoth of a “home” provides an innately haunting and ominous setting for our characters’ lives to unravel in. Its winding corridors and darkly-lit interior reflects the twisting corners of its adjacent hedge maze. Mixed with the film’s horrific family drama, one can’t help but be reminded of THE SHINING’S Hellish Overlook Hotel and the horrors held within. Cinematography by Linus Sandgren makes maximal use of the space, making it feel simultaneously beckoning and off-putting. The film is beautiful to look at.
SALTBURN is the kind of film that both suffers from and thrives on being seen in a movie theater. While seeing and hearing audience members’ responses to the film’s evocative, subversive, and altogether shocking subject matter can be called a study in social behavior, said reactions may also deter attention from the more desensitized among us. While the film struggles (brilliantly) to fit into any one genre category, it must be said without a doubt that SALTBURN ought to be considered a horror movie in disguise – at least partially.
Whether one finds themselves appreciating the film or not, it is undeniable that SALTBURN’S lusty, greedy, queer-baiting, sexy intention is to evoke a response from its audience, whether they like it or not.
SALTBURN is now playing in movie theaters.
