If Emerald Fennell’s Barry Keoghan debut marked a fierce creative stance in the #MeToo era, her highly anticipated follow-up, “Saltburn,” is a bold rejection of the acclaim she received for “Promising Young Woman” in 2020. Fennell’s filmmaking is not for the faint-hearted, and “Saltburn” emerges as the most provocative movie of the year, delivering a colossal middle finger to expectations.
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This dark comedy, a delectably depraved exploration of class warfare, daringly portrays the grotesquely wealthy as the least insane in a society irreparably broken. With a smirk, the film suggests that in a world beyond repair, only the Parasites will endure. Yet, in the face of empty provocation, one can’t help but question the palatability of it all. As the movie beckons viewers to check out, especially in its deranged final act, the lingering question arises: Is the purpose to generate gasps and applause, or does it invite genuine introspection?
Barry Keoghan
Barry Keoghan takes on the role of Oliver Quick, another sociopathic character in his repertoire. In “Saltburn,” Oliver, a middle-class misfit, grapples with finding his place as a first-year scholarship student in Oxford. His awe is directed at the aristocratic Felix Catton, portrayed with feline grace by Jacob Elordi, a newfound heartthrob. Felix, naturally charismatic and the life of every party, stands in stark contrast to the moth-like Oliver. However, chance encounters lead to an unexpected curiosity, and soon, the two become inseparable.
Oliver, sharing the struggles of his mentally ill parents with Felix, receives an invitation to spend the summer at Felix’s family estate, Saltburn. The movie unfolds against the backdrop of this sprawling countryside retreat, where Oliver is captivated by opulence, and Felix’s family is equally intrigued by him.
Rosamund Pike and Richard E Grant portray Felix’s parents, deliberately offering performances that feel mismatched within the same movie. Pike’s Elspeth, reminiscent of an alternate reality version of Amy from “Gone Girl,” exhibits a horror of ugliness and dismisses others, including a cameo by Carey Mulligan, as mere playthings.
Contrary to the typical narrative of “eating the rich,” “Saltburn” doesn’t pause to mock the wealthy; instead, it navigates through fish-out-of-water humor and paints a more relatable picture of the Catton family. Oliver’s early comedic moments give way to a narrative twist, shifting the focus to Felix as the tragic hero. Jacob Elordi’s portrayal showcases his versatility, seamlessly transitioning from the harmless naivete of his character to the calculated villainy in the recent Elvis Presley biopic, “Priscilla.”
Fennell challenges the audience’s decency, playing with expectations by presenting Oliver as a decoy protagonist while positioning Felix as the real hero—a tragic figure. Elordi’s performance underscores Felix’s complexity, and the film’s final act, bordering on the unhinged, could provoke strong reactions. Fennell’s political stance, which verges on demonizing the downtrodden and evoking pity for the privileged, demands scrutiny. Yet, her evolution as a filmmaker remains satisfying, pushing boundaries in both form and content.
