Oscar-Winner Fennell Whips Up Mixed-Flavor Drama in New Film, "Saltburn"
Emerald Fennell, who previously won an Oscar for the script for 'Promising Young Woman,' has concluded her latest venture with the feature film "Saltburn." The narrative, predominantly set in 2006, delivers a vibrant portrayal of the Great British class system - a topic that has long intrigued writers of all backgrounds. At the core of the story is the protagonist, Oliver Quick, played by veteran actor Barry Keoghan, who gained considerable recognition last year through "The Banshees of Inisherin."
Quick’s portrayal is commendably engaging, described as a parent-less teenager whose only goal is to rise above the class and expectations barrier - with his quest leading him to acquire a spot at the prestigious Oxford University. Fennell distinctly captures Quick's character, the setting, and a range of lively characters through meticulously planned scenes and locations, further accentuating her remarkable control behind the lens.
In the narrative, Quick is clueless about how he’ll spend his approaching summer, but an invitation by Felix Catton (Jacob Elordi) to spend the summer at his family's opulent country mansion presents an alluring opportunity. Quick’s arrival at the Catton’s residence is marked by an abrupt tonal change in the film, especially when Sir James Catton (Richard E. Grant) dramatically overacts his welcome, a move uncharacteristic of this seasoned actor. The film gradually veers into a more peculiar register, marking a significant shift in its established tone.
The film eventually unfolds into an enormous midsummer-night’s-dream party, testing the balance maintained through the initial half of the film, and somewhat disrupting it. Despite the leading actor’s commendable range, the film doesn’t quite match the involvement it had sparked earlier. Notably, Fennell’s drive to cram every possible element into the film stands out, her undeniably tenacious and creative approach promising a potentially bright future, so long as she refrains from being swept up into the Hollywood current of major franchises like Marvel.
And now, allow me to slip on my witty caps-lock.
My dear esteemed readers, have you ever dined at a restaurant that had a promising start with, let's say, a five-star entrée - perhaps a delicious lobster bisque, or a seared foie gras. Your palate tingles with anticipation for the main course, only for the chef to firmly replace sophisticated subtlety with an unexpected onslaught of conflicting flavors; like serving you a triple-stacked burger when you were set for a fine coq au vin.
This is rather emblematic of the "Saltburn" experience. Peppered with potential, mixed with compelling characters, and cooked up with a vivid backdrop of class disparity, this film could indeed have been the entrée, main course, and dessert rolled into one.
However, while the film rightly heaps on its ingredients - strong characters, budding talent, class melodrama, an ambitious script - it somehow forgets the simple culinary wisdom that less can be more. In trying to cater to every taste, "Saltburn" risks losing its unique flavor.
However, star of the hour, Keoghan, who has an undisputed knack for embodying the underdog character - a diamond in the rough, if we want to get poetic - gives a performance that could convince Oxford's admission office to allow in even the most raucous of applicants. So while our main dish may have faltered in execution, the individual components hold up rather well - like a burger and foie gras, perhaps?
And, as for Fennell, our head chef, she has introduced a tantalising menu with "Saltburn." Has she fully mastered her success recipe? Maybe not just yet. But, as they say in the world of culinary arts or the pressure-cooker that is Hollywood: keep experimenting, keep pushing boundaries, and remember - overseasoning can sometimes leave a bitter taste.
