‘Saltburn’ Review: A Puzzle Solved in The End

‘Saltburn’ is the type of disappointment you might endure for 75 minutes, but not for a prolonged 127. It comes across as desperate, confused, and overly pleased with its minor shocks, lacking the genuine excitement viewers crave.

Crafted by Emerald Fennell, known for ‘Promising Young Woman,’ a horror-revenge comedy addressing rape, it’s evident she aims to provoke. Drawing inspiration from erotic thrillers, Hitchcock, and possibly Patricia Highsmith, Fennell introduces Oliver Quick as the main character, with expectations of Dickensian complexity. However, amid lies, idleness, and eventual demise, the question lingers – to what end?

The narrative unfolds in 2006, as two Oxford students, the bookish Oliver (Barry Keoghan) and rakish Felix (Jacob Elordi), develop an imbalanced friendship. Mistaken for love by one and tolerated out of need by the other, their connection leads to Saltburn, Felix’s family estate.

Here, the film takes a turn towards lust, envy, and Fennell’s attempt at psychopathology. The movie introduces a cast of characters at Saltburn, each driven by desire and manipulation. Yet, as the plot unfolds, it becomes apparent that Fennell prioritizes style and stunts over emotional depth.

Fennell, known for her sleek yet morally tidy approach, attempts to recreate the success of ‘Promising Young Woman.’ However, ‘Saltburn’ lacks the same dread and poison kick. While Carey Mulligan’s deadpan performance adds some comedic value, the film struggles to balance campiness with Fennell’s pursuit of real opulence.

If ‘Promising Young Woman’ focused on feminist vengeance, ‘Saltburn’ seems to lack a clear theme. The film has twists and a few good lines, mostly delivered by Rosamund Pike, but it falls short of meaningful thoughts and emotions. Although it touches on toxic elitism, the class indictment is superficial, leaving the audience with more style than substance.

The portrayal of homosexuality in the movie is marred by corruption and conniving, adding to the film’s lack of depth. Fennell attempts to critique toxic elitism but does so in a way that feels like assembling furniture from Ikea – incomplete and lacking coherence. The movie luxuriates in its portrayal of the “posh” lifestyle without truly challenging or deconstructing it.

Barry Keoghan’s attempt to create a memorable character falls short, as the film seems to exist primarily for its coda, a music-video fantasia that comes across as cynical and cheeky. Fennell’s focus on strategic sex and nudity overshadows the potential for genuine, impactful storytelling.

‘Saltburn’ falls short of Fennell’s previous success, lacking the same moral and formal tidiness. While it offers style and stunts, it sacrifices emotional depth and meaningful themes, leaving audiences with a film that feels more like a glossy facade than a compelling narrative.