Saltburn
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⭐️ ⭐️ (out of 5)
Emerald Fennell is in an elite fraternity of writers who have won an Oscar for their first feature-length film, Promising Young Woman (2020). What made her feat even more profound was that this was her directorial debut, also. These credentials give this writer/director licence to make whatever she wants for her follow-up project. Emerald has put together a psychological thriller with the taste of an ‘eat the rich’ inspiration behind its twisted intent.
Upon arrival at Oxford, most students struggle to connect with others when they enter University life. This was especially true of Oliver Quick (Barry Keoghan). He is relegated to the invisible masses until he assists the popular, charming, and social-elitist Felix Catton (Jacob Elordi) with his bicycle’s flat tyre. This seemingly innocent act of kindness makes the wealthy student welcome Oliver into his social circle. As their friendship grows, Felix invites his new companion to his family estate for the school holidays. As Oliver meets his friend’s eccentric family and privileged lifestyle, odd things begin happening at the family home named Saltburn.
One thing that can be said about Emerald Fennell’s writing and direction is that there is no line she isn’t willing to cross, or at least she's ready to take the audience to the edge of it. In this portrayal of unhealthy infatuation, the Oscar winner manages to weave in a cautionary tale of sociopathic tendencies that every wealthy family should see. Barry Keoghan is brilliant as the unassuming introvert who manages to weave his way into the Catton family’s world, reminiscent of his role in The Killing of a Sacred Deer. His modest presence is perfect for this role, which simultaneously manages to be subtle and ingenious. Australian Jacob Elordi embodies the idolised Felix who is wanted by every woman and every man wants to be him. The stand out within the supporting cast is Rosamund Pike, who portrays the Catton matriarch who relishes in this idiosyncratic world that she thinks she controls. All the while Richard E. Grant and Alison Oliver come along for this bizarre world of the rich and disconnected.
Despite the brilliance of the performances and Fennell’s clever writing skills, this film pushes the limits of taste and art. No one wants to be the one to put limitations on self-expression and artistry, but the lines of morality that Saltburn crosses push beyond the limits of mere entertainment. Admittedly, the human heart has depths of debauchery that most don’t want to admit to existing, while Emerald looks to unearth some of them with her sophomore outing. As her characters consume various bodily fluids, cross sexual barriers, bear all for the world to see, and unmask the utter depravity of mankind in this vicious narrative, this film proves that there are no limits to overindulgence and revulsion. Where Mark Mylod’s The Menu puts the wealthy elite on the table for destruction, Saltburn shows how the rich can be consumed from within their very own homes.
REEL DIALOGUE: How do you determine morality?
In exploring human debauchery and secret lust, Saltburn opens the door to discussing morality. The moral fluidity within this plot line crosses into territories that most viewers will not want to venture into. Lust, greed, sexuality, genitalia, bodily excretions, and truth are all open targets for this screenplay and dance their way across the boundaries of good taste.
In this world where everyone has an opinion about every moral topic, it has become critical to figure out how to answer the philosophical question of where to place our moral beliefs. One consideration should be to study the example and the words of Jesus. He is not merely a moral teacher, but a life changer. Considering his life and death will start a journey of defining morality, mortality, and life. How do you start? Pick up one of the accounts of his life and see how God answers this multi-layered query with one man.
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