In the tradition of John Steinbeck’s East of Eden, here’s a film that darkly explores the notion of doing anything to get ahead—no matter what the cost.
Instead of Cathy, meet Oliver Quick (Barry Keoghan excels in this nuanced role of growing duplicity—think Donald Trump in breeches).
As the film opens, Oliver—a scholarship student—arrives at Oxford, decidedly out of place socially, but verging on genius academically. Soon he meets Saltburn (the family estate) heir and gadfly, Felix Catton—Jacob Elordi convincingly savours every frame he’s in. Due to an ideally timed flat tire, the two young men meet and become friends—one of them hoping for more…
To help Oliver recuperate from the sudden loss of his substance abusing father, Felix invites his distraught pal to spend the summer vacation at Saltburn. Once there, the first-in-his-class prodigy is initially overwhelmed by the opulence and vastness of both the “home” (veritably a castle) and grounds—notably a hedge maze that figures largely in future horrific events.
Meet the family: Sir James Catton (smooth shaven and regal is Richard Grant), his wife Lady Elsbeth (Rosamund Pike is wonderfully believable as the doting mother/hostess—eventually to her chagrin), daughter Venetia (a beguiling take on the role from Alison Oliver) and cousin Farleigh (dutifully haughty, party animal or semi-reluctant lover as required, Archie Madekwe provides welcome balance to the rest of his relatives). Keeping the trains running on time is—a model of stoicism—Paul Rhys as the butler Duncan.
Emerald Fennell’s script (also director) artfully weaves all of his characters together as they begin to learn about each other and themselves during the academic break. Soon, Oliver reveals his wide-ranging sexual prowess and wants as he simultaneously ingratiates himself into the clan. The narrative culminates in a birthday party for the house guest, prompting, now constant companion, Felix to surprise his best bud with an unexcepted trip to Ollie’s family home.
From there the previous truths immediately morph into dastardly lies, even as the Catton household starts permanently losing members. Tellingly, as the first fatality is discovered in the heart of the maze, the reaction from Sir James, “It’s nearly lunch” speaks volumes about what’s really important to the super rich and honoured. The overall notion of “loved but not loved” also runs like a cantus firmus throughout the production.
In the coda, Lady Elsbeth and Oliver apparently happen upon each other in a café only to rekindle her maternal instincts and bring the action full circle back to Saltburn.
Once there, with, virtually the place to himself, Oliver barely brings the curtain down dancing without a stitch and no audience to “Murder on the Dance Floor”. It’s the perfect metaphor for masking oneself to gain acceptance, power and fortune before stripping away the falsehoods and all of those who might reveal them. JWR