Thoughts on Emerald Fennell’s Saltburn

Every so often a piece of artwork is created that has people divided, intellectual minds dissecting and re-dissecting as they decide which category of thing this art belongs in. When it comes to Emerald Fennell’s recently released Saltburn every critic in town seems to have an opinion. I have had lengthy analysis sent to me by friends, read articles and reviews, watched interviews… What I have learnt from this influx of opinion and debate is that Fennell has achieved exactly what she set out to do. Basing an independent movie at Oxford leads to an instant engagement from a student community which prides itself on outside the box thinking and all things artsy. From the screening by the Isis magazine to the fact that many of my Oxford Drama and English student friends have seen, it is clear that this is a film that has been embraced by the university. Given that the screenwriter-director has chosen to write about her own alma mater its obvious that she knew exactly what she was doing. And yet… what do people think of this new depiction of Oxford University life?

The verdict is out.

When you decide to go to Oxford you buy into a certain lifestyle, accept that this is not a dark academia world alone but some circle of hell where students thrive on toxic work environments and wild nights (many of which are in black tie). It is a world in which some people thrive and some do not. I won’t say that this is everyone’s reality, but I have certainly not been infallible (one glance at my phone lock screen of my last black tie of this year’s Michaelmas term will prove that). You live with one eye watching your behaviour, however, aware that you probably seem like a group of entitled arseholes from the outside. Thus, Saltburn is a film that reflects this. It is the typical story of an outsider seeking to become an insider. It is Brideshead, The Talented Mr Ripley, The Secret History, Rebecca… But what it is not is the story of a loveable character who gets led astray by the rich kids. Fennell tells us that it is a love story, but if that is truly what it is then its the most sick and twisted love story I have come across in a while. With sex scenes that lead us questioning the disturbing depths of the screenwriter’s mind, the psychosexual tale takes us down avenues that we as audiences are not used to exploring. Did they make the movie what it is? Quite possibly, but I am happy to argue that there are likely to be many audience members who would have enjoyed it more without them (including a girl sitting on our row in Oxford’s Curzon).

There is an argument for the derivative nature of the film, its plot following that of Talented Mr Ripley. The presence is undeniable, despite this being set at Oxford and in the British countryside, and while I may not feel as strongly about this as some of my friends I do admit that this is a downside. As we wove through the maze of university and Saltburn life, the dark and twisted nature of the film leant towards horror as many thrillers are apt to do. The visual imagery was vivid, the world feeling rich both in the colour and realness. And can we just talk about the cinematography for a second?! There is a reason that this film has caught people’s eye and it is certainly the beauty with which the shots have been designed. So many stunning images are floating around the internet currently that have been lifted from this movie, all of them being frankly stunning when woven into the action. It is the sight of the film as a piece of art that makes it such an incredible addition to today’s culture. Of course, the actors are all excellent, the writing captures Oxford and the lifestyle, but if Fennell’s second film is headed to the Oscars in the wake of her first, it is cinematographer Linus Sandgren who deserves to take home the prize.

People will be quick to judge the depravity of this movie and I will not deny that there were elements that I could have lived without. But there are also judgements about the screenwriter’s choice to write about privilege, highlighting her own background and particularly her Tatler covered eighteenth birthday party. While today’s society seems adverse to pretension and wealth, it also preaches that you should write about what you know and arguably the world of Saltburn is one that Fennell knows well. The world of fiction loves to paint Oxford in a negative light, but for once we don’t see that to such an extent. Moreover, we also have (almost) accurate geography of the city, which is a personal bugbear of mine. Whether anyone is ever able to depict the university and the world it embodies in a light that critics deem as truly positive is debateable; however, it can be argued that many of today’s journalism professionals are old Oxonians and perhaps should take a look at their own university experiences before judging too harshly.

Ultimately, this is movie that is heavily invested in visual artistry and obsession, the former making it more appealing than the latter. Personally I am still conflicted… it was stunning and disturbing in equal measures. It is not a film that I will be running out to see again in a hurry, but it certainly had a profound impact on me and received a five stars on my Letterboxd account. For me the best scene was the final one and I have once again collected a song from a movie for my Spotify. The debate will no doubt continue to rage on the matter, highlighting the opinions of critics on both sex and class, and no universal solution will be presented. I daresay the screenwriter will derive some pleasure from this outcome.