When I got the last-minute invite to the LA Premiere of Amazon Studios and MGM's Saltburn at the historic 1927 Ace Theatre of Ace Hotel, starring GQ's Man of the Year, Jacob Elordi, I immediately began my research of the film. I hadn't seen any trailers or promotion up to that point and was thrilled as it was my first Hollywood Premiere.
I elected to attend as general public with intentions of independent review, but when I arrived it was immediately assumed I was "press", so I went with the opportunity and accidentally landed myself on the actual red carpet, next to MTV, Variety, and CNN. Oh, ok. Let's do this, I thought. You know the old saying, act like you're exactly where you're supposed to be, and no one will be the wiser. I was quickly wanded by security and led directly to my post.
Flashing bulbs, cheers for Jacob, Carey Mulligan, Producer Margot Robbie, Oscar nominee Barry Keoghan, and the acclaimed director, Emeral Fennell, lasted until minutes before showtime, and I hustled into the theater to take in the debauchery, in all its glory.
Saltburn is the sophomore feature film release for Fennell, who already scored her first Academy Award for her directorial debut of 2020's Promising Young Woman. As a writer, I was hyped and proud to see a woman with so much rebellious freedom in her craft, putting it on display for the masses. Saltburn tells the story of Oliver, an outsider nerd desperately attempting to maneuver his way into the wealthy, popular crowd at Oxford and the lengths he'll go to drape himself in envy, while maintaining malicious and dark unexpected behaviors as he swindles his way around their orbit, amidst their eccentric and affluent chaos.
Audible gasps from the audience, cringe worthy moments on screen, the pure dedication of Keoghan, who portrayed Oliver, were all wrapped with the glorious and strategically witty Elsbeth, played by Rosamund Pike, and God, did she sure deliver. The film was perfectly cast as though it were a charismatic and delusional puzzle, equipped with Fennell's mind provoking and brilliantly timed quips that one is sure to miss if not paying close attention. If the cast and the writing weren't enough, the set design, the cinematography, the location: Drayton House in Northamptonshire, England, all added to the flamboyant and aristocratic excess that screamed out of touch, adding to the over the topness Fennell worked so hard to illustrate. At some points during the film, I observed uncomfortable body language and quiet murmurings from audience members wondering how far she was willing to take the outrageous actions of the characters. The beauty of this approach and candidness in her story telling creates an intimate vulnerability that we as observers end up asking ourselves, am I allowed to be viewing this? Are we doing this? Yes, I guess we are.
Without revealing spoilers, the film touches on several ideas, most prominently what one is capable of when they are so enthralled with obsession that they lose all ability to distinguish boundary lines for crossing and the repercussions that unfold as a result. The visually stunning picture carries stories of societally relevant themes, though admittingly, can have detrimental potential if caught in the wrong hands.
Felix Catton, played by Jacob Elordi, does all but scream handsome and aloof daftness, as he saunters through the film seemingly unaffected and simultaneously precious in his demeanor. His very presence on screen and the co-leading man energy shared with Keoghan is ripe with sexual tension waiting to be unleashed, and yet, he manages to keep it under control as the audience is left panting for more.
Saltburn releases in select theaters tomorrow, November 17th. Some words of advice to those of those who wish to see it: Get ready to strap in, you'll be on the edge of your seat, as you question your own voyeuristic dysfunction by the end.
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