The boxy aspect ratio, the rigid constraints of class norms, cinematography that crowds the characters inside a maze of narrow hallways and fore-shortened spaces, “Saltburn” creates a feeling of claustrophobia. Emerald Fennell, British writer/director/actor/producer has crafted a film that uses sex as a tool for manipulation in an echo to her incredible directorial debut, “Promising Young Woman” (2020).
Both films have juicy roles for Carey Mulligan, and feature sex scenes that are intended to make the audience uncomfortable and questioning the power dynamic at play. “Saltburn” stars Barry Keoghan (so good in “The Banshees of Inisherin”, 2023) as the socially awkward scholarship kid, Oliver, at Oxford University in the early 2000’s. He’s enamored with a beautiful boy, the moneyed charismatic Felix. Played by Jacob Elordi (“Kissing Booth”, “Euphoria”), Felix is fond of being admired.
When Oliver suffers a family tragedy, Felix invites him home to the family estate, Saltburn Manor, for the summer. Keoghan gives Oliver the boyish charm and tenderness of a schoolboy with a crush on someone unattainable and far above him in social class. Oliver tries to ingrate himself with each of the family members, flattering the attractive mother (Rosamunde Pike) and discussing ceramic art with the addle-patted father (Richard E. Grant).
There’s a telling scene that shows Oliver playing with an antique shadow box, manipulating the marionettes by making them jump about. Saltburn Manor is akin to that shadow box. As Felix treats Oliver as his amusing puppy, the outside world intrudes and judges. Felix’s sister (Alison Oliver) alludes to the last boy that Felix attracted and then discarded. Upper crust relatives make snide remarks and guests are dispatched in early morning banishments.
The film is awash in bodily fluids. Close-ups of the sweat on Felix’s neck as Oliver gazes enthralled. The string of saliva from an open-mouth kiss, fingers dipped in blood, a tongue licking water and sucking at the drain of a bathtub; these moments are sure to elicit repulsion in the audience. Oliver tries seduction as a means of manipulation but is also shown spying on Felix masturbating in the bath. As Oliver becomes more desperate to remain in Felix’s good graces, the tension builds.
The soundtrack is particularly strong. Some of the song lyrics seem to reflect the character’s thoughts and are perfectly timed to the action. Setting the period but also creating a mood of despair that complements the narrative. There’s a dance scene that showcases a character throwing off all societal constraints and celebrating victory with wild abandon. Calling to mind and subverting Hollywood musical sequences and moments like Tom Cruise’s character dancing in “Risky Business”, the dance reveals the true nature of the character. It’s both a celebration and retribution.
There’s a gorgeous scene that opens up the setting. There’s a tracking shot as if to follow Keoghan’s character, Oliver, thru the sprawling grounds. Contrasting the beauty of lights floating on the lake and elaborate decorations, we see a costumed figure roasting a pig. It’s a decadent fancy-dress party to celebrate Oliver’s birthday. Guests are seen frolicking and using drugs as Oliver wanders in despair amongst the guests who treat him with disdain or disgust.
The deeply dysfunctional family is costumed in outfits that give insight into their characters: the daughter is a spider caught in a web, the father is trapped in the past and constrained by rigid class norms, and Felix is kitted out in wings. Felix believes he’s above reproach in his generous bestowing of love (and sex) as he flits between so many young women and men. Oliver wears horns. He’s the sacrificial deer but he’s also wearing an adornment that could be lethal.
Fennell has crafted a Grimm fairy tale of obsession and depravity. A wealthy family gripped by dysfunction seems trapped within cycles of desperation and cruelty. Gathered on couches to watch a movie or lounging in the sun, they appear like cruel creatures waiting for something to drag them from their stupor. Or someone to drag down with them. When the outside world intrudes, and violence visits the family, they retreat to the dining room as if to banish any unpleasantness. Draw the curtains against the outside world. Stiff upper lip and money to make the bad things go away…but Saltburn Manor and its dynasty will soon fall to someone using its own cruelty and dysfunction against them.
Drinks with films rating: 3 glasses of claret served in the family’s cut-crystal (out of 5)
Drinks with films 
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