Emerald Fennell, after her Oscar triumph with “Promising Young Woman,” presents another audacious film, “Saltburn.” The movie, a successor to her 2020 debut, continues Fennell’s trend of shredding societal norms and expectations. “Saltburn” is a modern twist on “The Talented Mr. Ripley,” set in the mid-2000s. It's a film that is both enchanting and disconcerting, with opulent visuals and sharp performances.
In “Saltburn,” Fennell crafts a narrative that both entertains and provokes. However, the film slightly falters in its conclusion, lingering longer than necessary, and diminishing the impact of what could have been a more ambiguously powerful ending.
Barry Keoghan delivers a chilling performance as Oliver Quick, an Oxford University scholarship student who ingratiates himself with the in-crowd, particularly targeting Felix Catton, played by Jacob Elordi. Felix, a charming aristocrat, becomes the object of Oliver's obsessive admiration and envy. Keoghan's portrayal of Oliver’s chameleon-like adaptability is unsettling yet captivating.
Elordi, as Felix, exudes an effortless charm, making it believable that he’s the center of everyone's attention. The film also stars Archie Madekwe as Felix’s cousin, Farleigh, who brilliantly delivers Fennell’s razor-sharp lines.
The plot reaches its climax at Felix’s family estate, Saltburn, where the intricate dynamics and manipulations among the characters unfold. The introduction of Felix’s family is a highlight, with Rosamund Pike as his dramatic mother, Elspeth, and Richard E. Grant playing the somewhat naive Sir James. Alison Oliver shines as Felix’s sister, Venetia, particularly in a pivotal bathtub scene. Carey Mulligan makes a delightful appearance as the obliviously overbearing houseguest, Pamela.
Linus Sandgren’s cinematography immerses viewers in the sumptuous lifestyle of Felix’s family, which gradually transitions from idyllic to nightmarish. The film expertly mixes scenes of lazy poolside afternoons with tension-filled dinner parties. As Oliver’s true nature emerges, the film takes a turn, showcasing both darkly comedic and disturbing moments.
Fennell’s portrayal of the wealthy as distinct yet familiar is not groundbreaking, but her approach is both witty and stylish. “Saltburn” intriguingly builds suspense as Oliver further entrenches himself in this privileged world, leading to a climax that is darker than anticipated. Yet, Fennell’s decision to over-explain the ending undercuts the film’s otherwise impactful narrative.
Keoghan’s performance, in particular, highlights the film’s central themes of longing and desperation in a world of indifference. While Fennell’s exploration of the elite's unique world isn’t novel, she delivers her message with a captivating flair. “Saltburn” offers a temporary escape into a world of affluence and deceit, marked by Fennell’s characteristic sharp wit and style.
