When the “Saltburn” (2023) teaser trailer released in late August, people got interested. The stunning cinematography, intriguing lines and exciting casting choices (i.e. Rosamund Pike and Jacob Elordi in the same film) were ingredients for potentially one of the best movies of the year. However, what could’ve been richly entertaining is instead a vapid montage of strange creative decisions.
“Saltburn” follows the story of Oliver (Barry Keoghan), a studious first year at Oxford who makes an awkward first impression. In the background of Oliver’s struggle to fit into the social scene, there is Felix, who is effortlessly popular. The two initially cross paths on the way to class, when Oliver helps Felix with a broken bicycle in an act of goodwill. Felix takes Oliver under his wing and the two become friends. The dichotomy between these two characters is essential in their friendship, for it is not only the difference in their personalities, but in their socioeconomic circumstances, that largely influences the story’s development. Oliver ultimately ends up with an invitation to stay at Saltburn, Felix’s family estate, after telling Felix of his father’s death and difficult home life.
Much of the initial excitement of the film comes from the grandeur of the estate. Felix has a nonchalant attitude towards his own privileged circumstances, casually remarking upon the portraits of kings while giving Oliver a tour of Saltburn. Dinner at this house is a black tie event. Upon introduction, the rest of Felix’s family seems to share this “we’re incredibly rich but don’t make a big deal of it” attitude. Their bohemian facade, though, is quickly broken by some of their sharp judgements toward Oliver. Even the subtly condescending “you’re so real” remark from Felix’s sister Venetia enforces Oliver’s status as an outsider and not truly a part of Saltburn.
Nevertheless, Oliver and the residents of Saltburn grow closer throughout the film. The amount of space on the estate for these characters to roam is seemingly endless and an ideal location for entertainment and summer relaxation. The sequence where the college-aged characters play tennis, sunbathe and swim with “Time to Pretend” (2007) as the diegetic music depicts Saltburn as a playground, free from responsibility and danger. This sentiment is always undercut, though, by Oliver’s not entirely welcome presence. His presence at Saltburn eventually devolves into a much more sinister interruption to the family’s sense of order.
While the first half of the film was enjoyable, the second half quickly fell off. A series of unnecessarily grotesque “erotic” scenes were ineffective in moving the story forward in an interesting direction. The only effect the scenes had was making the audience audibly uncomfortable and leaving them to question whether or not to leave the theater. The film is also structurally quite strange and, in the end, disappointing. There are points in the film where plot twists are genuinely surprising, but the main “shock” of the story isn’t very shocking at all. This leaves the audience unsatisfied and unfulfilled. Themes such as class and race remain underexplored, creating a feeling of hollowness in the film. For a thriller which is supposed to entertain, the plotline is dull in comparison to more engaging films in its genre.
“Saltburn” is certainly an aesthetically pleasing visual display of 1.33:1 shots, but not much more. By the resolution of the film, there is more than enough to be annoyed about or disgusted by. Unfortunately, the beauty of its cinematography cannot sweeten this. In its attempt to be a modern gothic film, “Saltburn” places too much importance on portraying the mansion in perfect lighting and not enough on the audience’s relationship to the story and characters. Ultimately, the offputting elements of the film are not balanced by excellent performances, unforgettable scenes or a groundbreaking plot.
So when people say “Saltburn” is “kinda weird,” believe them.
