mfs saying saltburn isn’t gay or is “queerbaiting” need to number one get better media literacy and number two learn what queerbaiting is. how are you going to say a film that had a whole ass gay sex scene isn’t queer. did we watch the same movie? and in reference to oliver and felix’s relationship it is still incredibly queer, just because they never had full on gay sex or flat out admitted their undying feelings for each other does not mean it was not queer. either of those things would have gone against what the movie was trying to say. as well what was there between them was still incredibly queer. the pining, the yearning, the fact that oliver ya know watched felix jerk off and then drank the cum bath water afterwards. pretty fucking queer to me. i swear people nowadays lack media literacy on a fundamental level and cannot understand a piece of media unless it is spelled out for them. oliver is a queer character. the relationship between him and felix is queer. saltburn is a queer movie.
i need to talk to you guys about the colors of the Cattons (Felix specifically) and Oliver. the clothes they are wearing are telling the story of Oliver taking over and leaving his mark throughout the whole movie, with Oliver's failures and successes and a final triumph. holy shit. get in. this is long and ends in ancient greek culture trivia. let;s talk please.
disclaimer: am starting from Oliver's arrival at Saltburn. before that the outfits are also very intentional, but it's a lot more complicated and it has been discussed before. the world distorts once we are at Saltburn and the story gets truly gothic there, and every detail—including color!—is enhanced in meaning. also, special thanks to @kivlaro for doing this with me, the thoughts on this specifically and the Saltburn craze on the whole. pics and detailed analysis under the cut!
let's start from the beginning. here is Oliver at the door. simple, blue shirt.
the shirt is sort of its own character. logically it makes sense as Oliver's suitcase is small and he spends the whole summer there, of course he'll rewear stuff a bunch. but it is blue.
in contrast to Felix, in yellow. yellow is one of Felix's colors (he is the sun, which i've talked about here btw, so this makes sense).
same to Pamela, in blue. first time we see her, she is next to Elspeth, wearing the color that is Oliver's, taking the place that he takes right away, in this very scene. the only other time she is physically present on screen is at dinner, in black and white, and black and white are a blank slate. she is stripped of color and gone very fast.
a bit of crucial data for later: Oliver, in blue, and Felix in pink. pink is very important on Felix. this is their first morning together. they are separate and opposite, solid, contained.
where it starts to get good is the morning after the vampire strike.
Venetia is a Felix extension, just as everyone in the house is to Oliver. i will eventually rant about Saltburn as a whole entity and Cattons as aspects of one self, and Oliver as psychosis, but not here. so, yes, Venetia is a pink riot, a euphoria of self-containment because Oliver gave her a piece of something she felt she lacked to feel whole (validation, attention, care), not a piece of blue, of himself. Oliver is expectedly solid blue. Felix is incredibly interesting and something i didn't pay much attention to at first: predominantly blue, incredibly upset at Oliver for ditching him, with a tile of bright red (on the left! close to heart! over-reaching here but like still!), which still tracks. i mean, really, if i had so much foreign color bleed into me and then abandoned, i'd be pissed, too. nice little touch is sir James' beloved hydrangeas, behind Felix, also pink, very pink, always pink; i don't think i've seen them blue in the movie, although the sort exists.
Farleigh. sweet baby Farleigh i love you. I'm not dead-set on my interpretation of this specifically but i think multiple things are happening with Oliver and Farleigh here. like Rent, which is their song, blue is their color of outsiders and the triers to fit in. Farleigh points out the favoritism and preference of Oliver to him and his mother here, so it may also be appropriation of color to draw attention to Farleigh as almost (but never quite) Oliver. it may also be as simple as that Farleigh, as much as he denies and resists, still retains Oliver's influence, which bleeds into him very slowly.
a nice little moment of Felix wearing blue swim shorts with just tiny specks of a pink pattern. Oliver's shorts also have a bit of pink, but less than Felix's. Oliver is pretty good at remaining unaffected and uninfluenced overall.
and we're getting to where it all clicked and started for me. the Quick family house, the failed reconciliation, and the immediate aftermath. oh it's so good.
on the drive there, Oliver is blue, Felix has a pink polo shirt with a solid blue pullover over it. this is the most blue Felix has ever been (this is the most blue he will ever be!), this is trust. however shaky and toxic it is, Felix loves Oliver and accepts him into his world. as a side note, Oliver's parents are also very blue, mom more so than dad. nice!
and then it crashes. immediately after, it's the evening of the same day, but Felix is not wearing the blue pullover anymore. this is very, very important. this is rejection. it's the end for Oliver in Felix's world and with his trust. Felix, again, in solid pink, Oliver in solid blue. Felix successfully rips him out with the roots and everything. ouch.
daddy. sorry. is that highlighter? sweat? fuck. let me- daddy. SORRY
no i actually have a point about this.
the clothes are replaced by the lights, but we roll with it. Oliver basks in the blue-green light, while Felix is on the other side, in pink and purple and red. sure, blue shines through, and Oliver also walks through the slashes of pink, but it is mostly pretty separate, Oliver watching Felix's pink in his own blue from a distance.
the morning after palette is deep. the wine color that is so prominent in these scenes is fascinating to me. if i were to over-reach again i'd say it's the Oliver in Felix's attributes and in his place that requires the robe to be so dark, not usual definite pink, because deep blue has leaked into the color itself, mixed with it, made itself integral to the shade. but it's also just a nice color, and it is pink in its core. the flowers (with sir James in the background) i think are also this specific shade for the same reason. you look at what remains of Felix everywhere here, and it is his color.
and finally oh the lunch scene. the last supper. the judgement day. the who's afraid of virginia woolf madness.
i think we've established what's up with Oliver, but i also think it's important that he is his own color at lunch but in Felix's pink/wine right before and after. lunch is where he attacks, whereas before and after is where he grieves and enjoys. Farleigh is almost completely blue save for a strip of the same deep pink, and he is soon cast out, and Venetia is striped, blue and pink/salmon, affected deeply by Oliver yet still clinging on to the Catton pink with grief, probably, but also love for Felix.
and after all this, Oliver leaves himself.
no, like, actually, literally himself. sure, he'd got a taste of the Cattons and the pink, but he is a monolith, a solid blue when he leaves Saltburn. he has not been affected by the house, he has taken what he wanted but stayed true and whole. what a power move, honestly.
but it's an even bigger deal that 16 years later, Elspeth runs into Oliver wearing all white and a blue scarf. oh, she's not let this go, alright; it was a long time ago, "but not to me," she says. What Oliver has been up to in that time is a great question, without a doubt he's been keeping tabs on the remaining family as much as he could; but Elspeth has never moved on, either. She has held on to Oliver's blue and the pink is not important at all now. Oliver, of course, is invariably, unwaveringly blue. welcome back to his show.
and welcome back to his triumph.
the only color (except for, again, white and black) we see him wear in the flashback about Saltburn inheritance is the all-too familiar deep pink. wine. bright pink mixed with deep blue.
now i will take a liberty and step back, over-reach, over-interpret and go insane. here's a fun bit on ancient greek culture trivia for you.
this is an interesting and complicated historiographical and linguistic debate that i will not even attempt to relay here, but the essence of it is this: for us, the sea is conventionally deep blue. historically, one of the most prominent civilizations considered "deep wine" to be the descriptor for it (not necessarily the color but the property. highly rec to look this up it's so fascinating). what it gives me here is that Oliver has changed color, but not his self. he has integrated, mixed, but persisted, completely winning over, triumphing. long live the king!
in conclusion, i would just like to propose "colors" by halsey as the next cattonquick anthem. thank you for your attention, please let me know your thoughts. yours, yes, you. cheers. god. peace out
red staircase… i accidentally fingered my cousin here… henry vii’s cabinet… ghost of granny — hi granny! …green room, garden, some fucking hideous rubens… broken piano… blue room — it’s blue… and… kings bedroom… actually the bed still has some of henry viii’s spunk on it. this is the long gallery… dead relly… dead rellies… daddy’s old teddy… shakespeare’s folio… and maze!
“my favourite character only acts like an asshole because he’s deflecting/covering up his insecurities 🥺🥺🥺” you are so boring. he acts like that because he sucks. worst motherfucker on earth (affectionate). stop making excuses for him
remus loves flowers and he loves to remember the memories they hold so whenever he receives flowers from his friends, he presses them in his books and preserves them forever
