Emerald Fennell, the writer and director of the critically acclaimed film “Promising Young Woman,” has come out with her sophomore follow-up called “Saltburn.” During a Q&A session, Fennell mentioned that this film could have easily been set in Hollywood. However, the actual setting is far from the glitz and glamour of Tinseltown. Set in the eccentric world of the British upper classes, “Saltburn” tells the story of Oliver, an Oxford University student who befriends Felix, a manor-born adonis. This article will delve into the key aspects of Fennell’s film and analyze its unique qualities.
Unlike the Hollywood backdrop Fennell mentioned, “Saltburn” takes place in the opulent realm of an aristocratic British family estate. Oliver, played by Barry Keoghan, finds himself on unfamiliar territory as an awkward outsider. The film introduces us to Felix’s parents, his acerbic cousin, and his wayward sister, portrayed by talented actors such as Rosamund Pike, Richard E. Grant, Archie Madekwe, and Alison Oliver. Additionally, Fennell reunites with Carey Mulligan, who had previously starred in “Promising Young Woman,” albeit in a short but impactful role as an unhinged houseguest.
Yearning for Identity
Emerald Fennell sheds light on a universal theme in “Saltburn”: the desire to become someone or something. Oliver, the protagonist, has spent his entire life working to reach Oxford, a place he fantasizes about as the key to his future. However, upon entering the prestigious university, he realizes that his efforts have been in vain. In a sea of artfully-louche posh kids, Oliver’s blazer, tie, and official college scarf are out of place. Fennell highlights the empty tricks of societal validation that Oliver believed in, giving viewers a poignant commentary on the nature of worthiness.
Fennell emphasizes the importance of capturing the aesthetics of British privileged youth during the early 2000s. Discussing the film’s costume design with Sophie Canale, Fennell realized the significance of Elordi’s character wearing two polo shirts simultaneously, which was a popular style choice of that era. Fennell acknowledges the excessive accessories and bad extensions associated with this period, further accentuating the visuals and overall vibe of the film. With its stylized nature, “Saltburn” becomes an exploration of beauty and its fetishization.
The director describes “Saltburn” as a vampire film, focusing on the concept of an outsider draining the life from the world he yearns for. Interestingly, Fennell notes that this vampiric factor works both ways, involving both Oliver and Felix’s super-privileged family. To enhance this theme, Fennell and DP Linus Sandgren drew visual inspiration from the works of Caravaggio, aiming to create a beautiful yet stylized portrayal of this alluring world. The deliberate choice to center the film around the fetishization of beauty adds a layer of depth to the narrative.
An Unspoken Topic
During the Q&A, Fennell tactfully avoided discussing her script, despite praise from the moderator. She humorously attributed this silence to the ongoing writers’ strike, while also expressing her support for the Writer’s Guild of America. Fennell’s ability to navigate the conversation in a playful yet respectful manner showcases her wit and dedication to the film industry.
Emerald Fennell’s “Saltburn” is a departure from Hollywood, taking audiences on a journey through the enigmatic world of British aristocracy. The film explores themes of identity, the aesthetics of privilege, and the allure of beauty. Fennell’s deliberate choices in setting, character development, and visual style ensure that “Saltburn” stands as a distinct and thought-provoking piece of cinematic art. As the film hits theaters in the United States on November 24th, audiences can expect a captivating and visually stunning experience that transcends geographical boundaries.