Emerald Fennell, the acclaimed creator of “Promising Young Woman,” is back with her sophomore feature, “Saltburn.” While the film boasts a distinctive visual style and sharp satire, it ultimately falls short in delivering the substance we expected from the filmmaker who left us buzzing after her debut.
Let’s start with the positives before we dive into the film‘s drawbacks. “Saltburn” is visually arresting, with bold, garishly saturated colors and a Kubrickian visual flair that demands attention. Presented in an almost square Academy ratio, it immediately sets a tone that something intriguing is afoot.
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The story revolves around Felix Catton (Jacob Elordi), a rich and charismatic Oxford student who becomes the center of attention. Enter Oliver Quick (Barry Keoghan), an awkward freshman who becomes infatuated with Felix. The film’s narrative, as told by Oliver, suggests that it’s more complex than it appears. But, in reality, it’s disappointingly straightforward, and this is where “Saltburn” stumbles. The journey is more engaging than the destination, which is glaringly obvious.
Oliver, portrayed by Keoghan, doesn’t quite convince us as the awkward outsider. Keoghan’s presence exudes hidden depths, making it hard to buy into his character‘s supposed social ineptitude. Oliver faces ridicule from his wealthier peers, particularly from Farleigh (Archie Madekwe), a relative of the Catton family.
As the rivalry between Oliver and Farleigh escalates, we witness cutting glances and spiteful gossip. Felix revels in the attention he receives as the golden boy, and Oliver’s character becomes tiresome to the audience long before it does to the film’s characters.
The unreliable narrator trope is at play here, but Fennell doesn’t provide a convincing portrayal of Oliver’s awkwardness. Instead, she seems more interested in orchestrating attacks on the upper class and their obliviousness. Plausible human behavior often takes a back seat to delivering shock value.
Oliver eventually secures an invitation to spend the summer at the luxurious Saltburn estate, where he and Farleigh are treated as pets for the Catton family’s amusement. Fennell excels in showcasing the opulence of this setting, and the cast, including Rosamund Pike, Richard E. Grant, Allison Oliver, and Carey Mulligan, brings exaggerated characters to life. They are a cacophony of spoiled aristocrats pretending to be progressive, making for an amusing spectacle.
However, “Saltburn” takes a rather cynical view of life, leading to a somewhat predictable series of funerals and even a scene where Oliver desecrates a grave. These elements, although outrageous, lack the finesse and tension seen in “The Talented Mr. Ripley,” a film that handled the dynamic between its sociopathic protagonist and upper-class target more adeptly.
Emerald Fennell attempts to make an impression by embracing an unconventional and meme-worthy approach to filmmaking. While “Saltburn” offers memorable one-liners and visual moments, it ultimately falls short of its promise of delivering a fresh and fearless cinematic voice.
In the sea of content, Fennell’s desire to stand out is evident, but the film’s reliance on style over substance leaves us wanting more. “Saltburn” possesses attitude but fails to offer anything new or profound in the realm of films exploring privilege and deceit.