By: Alex Markland ’26
In Emerald Fennell’s “Saltburn,” Oliver Quick, played by Barry Keoghan, makes passionate and aggressive love to a gravesite. This scene consists of a single shot which lasts for one minute and 50 seconds. Most of the discourse surrounding “Saltburn” centers on whether or not it really has anything to say under its glossy surface. Does the grave scene really carry any deeper significance? Do the bathtub scene or vampire scene carry some intricate meaning about class inequality?
There are arguments to be made for both sides. The deflowering of the gravesite shows the depth of Oliver’s obsession with Felix, played by Jacob Elordi, but 47 seconds of nude gyration certainly seems like overkill if the only aim of the scene is to advance a theme. I don’t think that “Saltburn” is trying to tell us much. There are trappings of deeper meaning, but the film’s heart lies elsewhere. And yet, this didn’t hinder my enjoyment. At its core, “Saltburn” is a movie about beautiful people in beautiful places being stupid and self-indulgent, and that’s okay.
The movie is at its best when it leans into the depravity and away from any sort of half-hearted social commentary. “Saltburn” feels like it is obligated to address issues surrounding class and race. Both topics are mentioned, but never really delved into. While some critics on TikTok have argued that “Saltburn” is about the middle class desire and desperation to try and gain wealth and status, the movie’s quickness to indulge itself in excessive sex, extravagant parties and general debauchery makes it difficult for me to believe that social commentary is Fennell’s top priority. Oliver’s presence in the Catton estate does highlight the theme of class divide, but “Saltburn” never commits to this criticism and instead opts for glitz and glamor in the form of a well-executed but somewhat predictable third act twist. These may sound like critiques, but “Saltburn” is better off when it isn’t weighed down by any sort of conscience.
“Saltburn” follows Oliver, who spends a summer with his wealthy college friend, Felix, at Saltburn, the Cattons’ sprawling estate. Oliver engages in all the privileges the Cattons’ wealth and estate offer them, from drunk tennis matches to smoking outside the family’s large pool. Some viewers revelled in the film’s hedonism, while others’ disgust has turned them away. Either way, people are talking. Right now, “Saltburn” is the most popular movie on IMDb, despite the fact that it was released almost two months ago in the United States. One friend who I watched the movie with said that he knew about most of the provocative scenes beforehand from discourse on social media, and he’s not alone. While I tried my best to avoid the hype, I knew what happened in that bathtub before I cringed through watching it live. The lewd scenes are definitely the highlights of the movie, even if their shock value is diminished thanks to its status as a TikTok darling.
While I liked “Saltburn,” I didn’t love it. It suffers from a general air of pretentiousness. Fennell seems reluctant to let the audience in on what the movie is really about, which makes it feel like it isn’t really about anything. The movie thinks highly of itself, especially in the twist at the end, which while entertaining, wasn’t as groundbreaking as it seems to think it is. Even with its flaws, “Saltburn” is pretty to look at and many frames and scenes from the movie have stuck with me. I also appreciate that a movie like “Saltburn” has been able to reach such high levels of success. The erotic thriller genre has been sorely lacking in both quantity and quality lately, and the success of “Saltburn” gives me hope that more films like it and its predecessors—“Body Heat” (1981) being my personal favorite—will hit the box office in the near future. So let’s all raise a glass of bathwater to Saltburn and indulge ourselves in some extravagance, even if that’s all it is.