Swap the title psychological thriller for psychosexual drama with this scarcely gothic romance. In “Saltburn” Emerald Fennell teases a genre bend into the enticing world of queer dramas with her carefully crafted main character, Oliver Quick. Through the eyes of this disturbed Oxford University loner, Fennell explores the gripping clash between class and sexuality in this riveting thriller.
Simply stated, I found the execution of this film phenomenal. Fennell’s directorial debut in "Promising Young Woman” certainly tracked her success on a film like Saltburn. As the quality of visual arts media continues to decline, a film with the careful cinematic craftsmanship accomplished in a movie like this one, is refreshing to say the least. Generally what I found most engaging was the commentary on grief amidst upper class dynamics, but more particularly, the execution of Fennell’s writing and its integration with her direction.
Logline: Struggling to find his place at Oxford University, student Oliver Quick finds himself drawn into the world of the charming and aristocratic Felix Catton, who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.
Fennell explores obsession as an emotion through Oliver’s fascination with Felix, a character who comes off as abstractly attractive from the moment we meet him. His on-screen introduction sets him up as the primary object of Oliver’s obscure attention, placing him as a complex protagonist player in the antagonist’s game. For the remainder of the film, we’re struck by Oliver’s disturbing point of view of Felix as he confuses his obsession with Felix’s life for love. Undoubtedly, Quick views Felix as his own personal silver spoon, his secret key into a world he craves to be a part of. This leads me to wonder how grief changes when it is not the absence of their love that is grieved by a character, but the absence of their obsession.
Prior to production, Fennel discussed her expectations for Saltburn with cinematographer Linus Sandgren. He asked her to share with him some words she might use to describe her vision for the tone of the film, to which she responded with words like “tactile,” “sensual,” and “erotic.” Visually, the partnership took inspiration from famous Italian painter Michelangelo Merisi da Caravaggio, whose works were well known for their “shock-factors” and intimate displays of horror. His subjects and imagined characters were often painted in a dark, vampire-esque color palette. Shot in 35mm film and ratioed at 1:33:1, Fennell’s inspiration for the screen was pushed further with a sheer grainy overcasting.
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Memorable scenes include “the red room” and “the maze.” In particular, the red room scene suggests an eerie commentary on grief, bringing to life the common phrase “everyone grieves differently.” The brilliance of dialogue in this scene was not unforgiving. Fennell’s exploration of character action, such as an overflowing glass of wine on a white table cloth, aided this portrayal of devastation further. The calm and climactic demeanor of each character as they gather for a meal- all intentional, discreet displays of Fennell’s dark but curious vision of grief.
Then, of course, “the maze.” Various shots throughout capture Oliver and Felix amidst intimate moments together and alone. Fennell plays with good vs. evil here, with images of Oliver’s silhouette, devilish antlers atop his head, and Felix, bearing a marvelous pair of angel-like wings.
“I don’t think you’re a spider. You’re a moth. Quiet, harmless, drawn to shiny things, banging up against a window, and begging to get in.” - Farleigh (Archie Madekwe)
However, there was a magic touch to the making of Saltburn, an all-body encompassing score. Joey Moser sat down with writer-composer Anthony Willis for Awards Daily to talk about his aesthetic process of creating the opulently, eerie score for Saltburn. Willis began saying “The first objective was to create the aspirational world of Saltburn- the world that makes you want it.”
“When the sun goes down at Saltburn, debauchery almost always transpires. Willis’ score throbs throughout the film, but what separates his music is how it evolves throughout. Barry Keoghan’s Oliver Quick seduces and hypnotizes almost everyone in that house. In “Venetia’s See-Through Night Dress,” we feel like we should tear our eyes away, but we realize we are watching something we’ve always wanted. Some composers would let the music boil over any chance they could, but Willis understood that it needed to be controlled.” - Joey Moser for Awards Daily
From writing, to score, to a molecularly structured direction, Saltburn creates an emotionally intellectual impact. Like pieces of an unearthly puzzle, Fennell coerces the viewer, immersing them into an alternative reality they cannot but simply switch off using the remote. Unable to look away- at every disturbing twist and turn- Saltburn is a strikingly indispensable watch.