From The Go Between[1] to The Talented Mr Ripley, like many of its cultural predecessors, Saltburn is a film which adds to the many prompts of the sadistic nature that come alongside aristocracy.  

It follows the lives of Jacob Elordi’s promiscuous and extraverted Freddie, as he leads his new reclusive companion Oliver Quick, Barry Keoghan, from the inner walls of Oxford to his rural estate. 

The intelligent use of metaphors mean that it surpasses being simply identified as an erotic comedy.It holds raunchy scenes which often use gore to allude the grotesque nature that comes alongside a pursuit of overconsumption and an excessive lifestyle. Alike to films such as Eyes Wide Shut, which also draw light to the amoral characteristics of the wealthy, it embeds symbolism into its scenes such as masquerade balls , the Venetian tradition, where masks were often used to protect the identities of the rich when committing transgressive behaviours of a corruptive nature. 

Enjoyers of cinema could also draw the camera techniques as a point of interest. 4:3 has been utilised by many directors such as the likes of Wes Anderson and Jonah Hill and further uses this in order to communicate the characters’ reaction to situation and their surroundings. This box- framed camera angling is predominantly used with Oliver among blurred or dull backgrounds to reflect his solitary identity and lack of security as a character. This framing technique is used with differing effect for the wealthier characters within the film. Mark Kermode, as another reviewer, state how the 4:3 shooting is particularly good for proscenium arches, where large scenery is visible without obstructing sight-lines, in context to the Catton family, its used to constantly remind people of their lives submerged in abundance as there is an insurable link between their identities and their assets, the picturesque home and the scenic rural greenery.

The non linear plot may be a challenge for some, like the many mazes, spiralling staircases and coiling halls, I loved how twists were a central method as to how the plot unfold,  so as an audience member, I became increasingly insecure and dissatisfied of my presumptions of what was to come next. However, I actively recommend this class satire to anyone who gains a thrill from gritty topics being tackled in laughs, screams and winces.

 

 

[1] Hartley, L. P. (n.d.). The Go-between. Penguin UK.