‘Saltburn’ loses momentum as trite conclusion ruins intrigue, promise of premise

From the Jacob Elordi TikTok edits to the infamous bathtub scene, Oscar winner Emerald Fennell’s sophomore film, Saltburn’s, silver screen appearance has left viewers feeling multiple emotions. Being well received with its captivating cinematography and elevated performances by Golden Globe nominee Barry Keoghan and Elordi, it follows a series of unfortunate and twisted events that surround the estate of Saltburn.

The film takes place during 2006 in Oxford, England where a very shy student, Oliver Quick (Barry Keoghan, Eternals), does anything to fit in with the popular group of students, specifically Felix Catton (Jacob Elordi, Euphoria). Oliver portrays himself as a lowly, although intellectually gifted, college student, with little to his name but his familial embarrassment and timid demeanor. The audience, along with Felix, sympathizes with Oliver’s situation, understanding the effect loneliness can have. Felix invites him to Saltburn, where debauchery and psychosexual manipulation ensues. 

The introduction to the estate is done well; Fennel, with cinematographer Linus Sandgren and production designer Suzie Davis, display an aesthetically pleasing bit of cinema, seducing the audience with every scene. Sandgren’s use of wide shots of Saltburn paint it to be more significant than any character in the film. This builds up to the realization that the estate will outlast every owner, playing on the class critique. 

Saltburn’s most intimate scenes were filmed in a 4:3 ratio, which means 4 inches by 3 inches, a rather uncommon way to film that is only ever seen in old, silent films. In an interview by TheWrap with Fennel and Sandgren, it is revealed that both wanted Oliver to parallel Nosferatu. In a statement by Sandgren, he reports that “the other was the voyeuristic part of it, which felt more in the vein of Hitchcock suspense, where you would just see a close-up of an eye or you have the POVs through doorways and then the sunny, romantic days.” This only adds to the idea that the film is about Oliver and his manipulation to get what he wants. In other words, a sociopath’s journey. 

The execution for Oliver to embody a vampire is done flawlessly through his symbolic feasting on others. Saltburn’s cinematography definitely provides a voyage as a thriller; however, the cast does a beautiful job increasing the audience's infatuation with the film. The cast is incredibly charismatic in their role to the point that specific scenes created fans, like Farleigh singing. Sir James (Richard E. Grant, Warlock) also does amazing with Elspeth (Rosamund Pike, Pride and Prejudice) to add a perfect amount of dark comedy, purely with how out of touch they are with the rest of society. 

Watch out, spoilers ahead.

The twist of Oliver originating from a happy, middle class family enhances the story perfectly. The tension of this encounter arises from Oliver being exposed as a pathological liar, one who manipulated Felix to obtain whatever he wants. This reveal changes the view of Oliver -- he is a liar just like everyone else in Saltburn, he isn’t better because he is just as bad. Oliver, through performance, is fully integrated into the Catton family after Felix’s death. Grief between characters comes into conflict with each other. Venitia claims Oliver “doesn’t even know Felix”, but the same can be said with Venetia, because Felix, like everyone else in Saltburn, played a persona and she never knew the true Felix. This leaves the moral ambiguity of who is entitled to the estate. 

With that being said, the last 20 minutes of the film radically recontextualize the story. Rather than successfully subverting expectations, the film’s grand finale nullifies everything that made the film so profound up until that point. The ending feels so unnecessary to the point that if taken out, the film wouldn’t really change. Oliver’s character drastically changes, his character kept on fluctuating throughout the film from the unsure college kid to an assertive instigator. 

Saltburn is no longer a compelling examination of entitlement and identity, but rather, it’s just a simple thriller of style without any substance. Oliver’s way to the top through cut throat manipulation, murdering the entire Catton family made him worse than everyone at Saltburn. This undercuts the moral ambiguity that made the film so intriguing in the first place. 

Although Saltburn was entertaining, the ending of the film limited its potential. The final twist, specifically telling the audience Oliver was the villain, inevitably made the film toothless. The disappointing nature of the film could derive from the director's background. Fennell comes from a wealthy background, which leads to the reluctance to make any bold or provocative statements on class critique. Without this, the film just exists for the twist and disturbing scenes seemed present for shock value only. If Fennell had a more riskier approach to class critique and the ending wasn’t rushed, Saltburn would’ve been one of the best movies seen in this decade so far.

Grade B-

Blurb:With cinematography, interesting characters, and some rather questionable choices, Saltburn’s potential to be great is dragged down by a confusing ending that disappoints viewers.

by Conner LaCosse

Published January 29 2024

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