Saltburn, the latest film from writer-director Emerald Fennell, is a stylish but ultimately silly patchwork of borrowed ideas. Fennell, who won an Oscar for her debut film Promising Young Woman, demonstrates her affinity for pastiche by drawing inspiration from various sources, including Evelyn Waugh’s Brideshead Revisited, Patricia Highsmith’s The Talented Mr. Ripley, and even a dash of thriller tropes from Single White Female. While Fennell’s skill at imitation is commendable, Saltburn lacks the depth and insight to make it truly compelling.
The film centers around Oliver Quick, played by Barry Keoghan, a working-class Oxford scholarship student who manages to infiltrate the world of the college’s wealthy elite. Oliver befriends Felix Catton, the party boy with aristocratic roots, brilliantly portrayed by Jacob Elordi. The film excels in its portrayal of the Catton family’s extravagant lifestyle, particularly when Rosamund Pike and Richard E. Grant, as Elspeth and Sir James Catton, grace the screen with their presence. Both Pike and Grant deliver impeccable performances, infusing their characters with wit, charm, and an amusing obliviousness to their immense privilege. Pike’s Elspeth, in particular, delivers some deliciously biting lines that are instantly quotable.
However, despite the standout performances from Pike and Grant, the film suffers from its reliance on stock characters and predictable plotlines. Oliver and Felix, as interesting and charismatic as they may be, are ultimately overshadowed by the familiarity of their archetypes. Keoghan, who has previously demonstrated his ability to portray hidden darkness beneath a facade of innocence, is unfortunately trapped in a role that offers little room for complexity.
Saltburn also falls short in its exploration of class dynamics and the longing of those on the outside looking in. Fennell’s depiction of the wealthy elite is satirical and acerbic, but it lacks nuance and depth. The film’s portrayal of Oliver’s escalating obsession with Felix is more outrageous than genuinely fraught with erotic fixation, rendering his character’s motivations unclear. The ambiguity surrounding Oliver’s sexuality, as well as his class envy, only adds to the film’s lack of clarity and leaves the audience craving more substantial exploration of these themes.
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Where Saltburn truly shines is in its visual presentation. The film makes excellent use of the stunning English country estate that serves as its backdrop, indulging the audience in sumptuous real estate porn. The decadence and opulence of the setting provide a captivating contrast to the film’s dark and twisted narrative, offering a feast for the eyes that is impossible to resist.
Unfortunately, the film’s plot takes a nosedive into the realm of absurdity in its final act. What should be a thrilling conclusion turns into a bizarre and over-the-top sequence of events that detracts from the overall enjoyment of the film. The decision to spell out every step of Oliver’s plan removes any sense of ambiguity and robs the character of his complexity. It is a disappointing ending that fails to capitalize on the potential for deeper exploration of themes such as desire, greed, and the disparity between the haves and the have-nots.
Overall, Saltburn is a tantalizing but ultimately unsatisfying viewing experience. While the performances of Pike and Grant, as well as the film’s visual allure, make it an enjoyable watch, the lack of depth and insight prevent it from truly leaving a lasting impression. Fennell’s skill at pastiche is evident, but it is not enough to carry the film beyond its surface cleverness. Saltburn is an entertaining revenge thriller, but it fails to offer anything truly meaningful or thought-provoking.
