I think we moved past Saltburn far too quickly, I’m not over it and maybe that’s a personal issue I need to take care of, but seriously can we talk about it? I wrote one of my final college essays on Saltburn and I feel compelled to share some excerpts with you while we talk about this film and the wealthy academia aesthetic it portrays that has so many of us by the throats. Maybe the short-lived phenomenon over this film was due to the well-known, devilishly handsome cast; or perhaps the depictions of many’s desire to be anyone other than themselves. For me, this movie captivated me so much simply because of the attention to detail and beautiful cinematography that so many modern films lack. Of course I went to theaters to see Saltburn for Jacob Elordi, but after my first viewing of the film I became obsessed simply because the world that Fennell created was so alluring and erotic, which is the similar draw that pulls me into fantasy books. I would never consider Saltburn a fantasy film, however I will say that the desire to be wealthy, attractive, and free to live as you please is a fantasy many people possess, myself included. Oliver Twist in some sadistic way, just had the balls to make that dream a reality. Look at today, with the rise of elites on social media, our desire to see into the lives of rich people our own age. Making the wealthy wealthier with our desperate need to follow their every move, under the guise of social media we are given access into this world allowing us to feel a part of something, and yet when you turn off your phone it disappears. Similarly to Oliver’s access to Saltburn and the Catton’s, once he gets too close it all seems to fade away.
“Emerald Fennell's latest cinematic creation, a provocative and darkly comedic thriller, offers a unique exploration of desire, wealth, and societal norms. Set against the backdrop of the English elite in 2007, the film follows the intriguing dynamics within the Catton family, centered around the young protagonist, Oliver Quick. As Oliver becomes entangled in the web of the Catton family's opulent yet eccentric world, the narrative takes unexpected turns, revealing the consequences of intense desire and societal aspirations. The film masterfully employs the genre of black comedy, delving into taboo subjects and employing red as a symbolic color to evoke passion, danger, and, metaphorically, the vampiric nature of desire” (My college essay, 2024).
To promote a film based on it’s disturbing, innate sexual appeal is a big ask, so imagine my surprise when I saw the bathtub scene and my raw reaction was, “that’s it?” Not to say that both the bathtub scene and the garden scene between Oliver and Venetia was not shocking, it just wasn’t mind-bogglingly disturbing as so many people had led me to believe. I really think that more people would have found these scenes disturbing if the film’s marketing didn’t tell us to. I have said this before and I will say it again, audiences are not dumb. Had Saltburn been marketed as a dark thriller heavily rooted in sexual and powerful desire people would have come out of theaters gagged bathtub scene, though many people did, I think majority of film goers were indifferent to it. I myself, and my friends who all watched it though the scene was expected, and quite honestly understandable from Oliver’s POV. Attraction and desire are two of the biggest themes presented in Saltburn, also used as a catalyst for the subtext and socio-political commentary to be exposed. I'd have been more shocked had Oliver and Felix actually hooked up, or Venetia and Felix for that matter because they were very close. Slurping up bathwater in my opinion was quite tame, maybe that makes me a freak I don’t know. I found Oliver thrusting into a pile of dirt to be very uncomfortable and dirty, but to be fair I forget about that scene every time because people were so focused on the bath. But again, it made sense for Oliver's character in a grimey way. Had Oliver done something completely out of left field, or any of the Catton's for that matter the film would have been more compelling when labeled disturbing.
“Oliver’s attraction to Felix, Venetia, and Saltburn as a whole, stems from his desire to live a more rewarding life; Oliver grew up with both his parents and siblings in quite a nice home, but for him it wasn’t enough. He sees the Catton family as undeserving of their riches, and he seeks to steal it out from under their posh noses by manipulating them, one by one. The Catton family looks down on those who come from humble backgrounds, as they like to take advantage of the weak for their own entertainment. At the climax of this film, Oliver kills Felix and we see a tonal shift in both the story and cinematography, but also in the power dynamic between Oliver and the Catton’s. The morning after Oliver’s birthday party at Saltburn, Felix is missing. The family, the help, and the groundskeepers all search the estate for him until he is found in the center of the maze. Everyone is emotional and distraught, the family clearly in shock by the sudden and questionable death of their son. The Catton family and Oliver sit inside for breakfast at their extensive dining room table, when one of the butlers alerts Sir James that they will need to close the blinds in order to get Felix out of the maze and off the grounds. As the butler closes the blinds, the film shifts from natural coloring to a completely red setting, as the curtains seem a deeper red velvet material. This action of closing the red drapes cascade an overwhelming sense of fear and danger for the family. This scene establishes how the power dynamic has officially shifted from the Catton’s to Oliver. By killing Felix, he has made the entire family vulnerable, and they ask him to stay longer at Saltburn for comfort. After Felix’s funeral, Oliver then kills Venetia in the bathtub, masking the murder as a suicide. This heightens the fear of the Catton’s and they ask Oliver to leave Saltburn. As the film comes to an end, we discover Sir James has killed himself, leaving Lady Elspeth alone in such a grand estate. Lady Elspeth and Oliver reunite at a local cafe and she invites him to Saltburn, where it is implied that he manipulated her to sign over the estate to him. Then, we see her sick in bed when Oliver pulls out her breathing tube. Oliver had successfully sucked the life from each member of the Catton family for his own benefits, to live a life of excess and feed off their legacy” (My college essay, 2024).
Saltburn as a concept has certainly been done before, however the reason so many people were drawn to the film (aside from the casting) lies within the nostalgia and questions it evoked. Saltburn embraces ambiguity and invites viewers to question societal norms and power structures. The film subverts traditional thriller tropes and expectations, offering a complex narrative that encourages audiences to reflect on the intersections of sexuality, power, and identity while supplying dark humor. English high society in the early 2000s was influenced by globalization. London, in particular, became a hub for international business and a melting pot of cultures. The city's social scene reflected a blend of traditional English aristocracy and a more diverse, cosmopolitan elite.The rise of celebrity culture and the influence of the media played a significant role. Socialites, celebrities, and successful professionals became part of the high society narrative, with events, parties, and charity functions covered extensively in the media. Saltburn is both an estate and physical embodiment of the Catton family’s generational wealth, as is their attitude towards Oliver and his fake upbringing. Fennell's adept storytelling, coupled with the symbolic use of color, elevates Saltburn beyond a mere thriller, turning it into a rich commentary on societal norms, class dynamics, and the alluring yet perilous nature of desire. Through this film, Fennell challenges audiences to question their fascination with the elite and prompts reflection on the intricate intersections of power, sexuality, and identity in contemporary society. I think this film is more relevant than ever before, and I do watch it regularly when I want to immerse myself in the world of Saltburn and Oxford, and when I want to see Jacob Elordi with an eyebrow piercing, I’m only human. Saltburn will always be rated five olives from me, but you already knew that didn't you. There's always something new to uncover and analyze, to me that's what makes a great film. Cin Cin!
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