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“What a little shit stirrer.”
Archie Madekwe made a direct comparison between Farleigh and Regina George so obviously I HAD to draw it
This is going to sound so pretentious to say, but I think that one of the most incredible things Emerald Fennell did with Saltburn was give it's audience both everything and nothing all at once. But which I mean that every moment we see on screen is so carefully chosen and wonderfully detailed. Every second of the story that Oliver chooses to tell us is perfectly crafted to give us the exact story he wants to create, nothing more and nothing less. Saltburn's narrative lives and dies in Oliver's obsessive recollection, his confessional. Its why these characters who are so clearly and wonderfully rich below the surface can, at a glance, come off as shallow. Oliver didn't care!! And the one he did care about, he gatekept so jealously (I saw someone else's meta discussing this and I absolutely agree) to the point where we as an audience barely know who Felix was. We don't even know who Oliver was, at the end of the day; he was manipulative and ambitious and obsessive and - I could not tell you a single thing he genuinely liked that wasn't Felix. Because that's it, isn't it. That's the story of Saltburn. Everything revolved around Felix, and Felix was everything, and so Oliver's story only focuses on the absolute tragedy of having everything and then losing everything in that one Summer.
And nothing else.
Emerald gave us the gift of Oliver's everything, and the vague, nebulous nothing that he cares about just behind it. The hints of more, jumping off points of intrigue and imagination, things we can extrapolate from and speculate about. There is so much room in this world around it's implications and offhand remarks for us to all build upon. We don't even know if Venetia is Felix's older or younger sister???? There is limitless space to play in this world, both before the events of the film, but also between the few moments Oliver chooses to show us. We see twenty minutes of Oliver's Full First Year at Oxford before he goes to Saltburn, so much of how he falls for Felix and becomes his friend goes so unsaid and unseen, little more than a montage, and Barry and Jacobs's phenomenal chemistry selling their closeness, so we don't have to know each detail.
But that's the thing, that's just bliss; the falling in love is a given in this story, he opens with that. These moments would simply be nothing on the road to everything.
Its like Emerald Fennell is kissing me directly on the forehead and giving her blessing to fill in the blanks. She knew we would; she literally said she knew Saltburn would be a hit on Tumblr, she knew what she was doing. This film was made for those of us who like to over analyse media and also create vivid and intricate headcanons and sometimes both at the same time.
Tumblr, and creatives especially, love Saltburn because it deliberately lets us play in its world, in that sweet spot between everything and nothing, all at once.
Justice for "Poor Dear" Pamela
She had like 5 minutes of screentime and ate everybody up
currently thinking about how ages ago my friend sent me a long-ass explanation about why saltburn is an adaptation of the myth involving theseus, the minotaur, and the labyrinth.
nobody asked but here’s some of the fun proof that exists of this:
first and foremost, icarus, the boy who flew too close to the sun. during the party scene, it is evident that felix symbolises this poor ill-fated youth, and the symbolism here is potent. he flew too close to finding out what oliver truly is. he discovered something he shouldn’t have, and dressing him up in icarus cosplay is the perfect showcase for his fate and his mistakes. it’s also brilliant in terms of what icarus actually did to “deserve” death. realistically, he was told not to go too high or too low, but in actuality, such cryptic instructions were difficult to follow mid-flight, and it resulted in catastrophe. felix is trying to navigate the responsibilities of being a good friend with his baggage as someone in a family of rich pricks. it’s hard, and in flying too far away from his background, he “flew too close to the sun” and discovered things he shouldn’t have. as a small nod to further the icarus imagery, felix’s body is discovered under bright and direct sunlight as he lays motionless in his winged costume.
secondly, saltburn is in the center of a labyrinth. the labyrinth lore runs deep in this movie, because not only does the labyrinth function as symbolism, it has lore that runs adjacent to the lore of the actual labyrinth. in theseus and the minotaur, the labyrinth is a construct of greek architect and inventor daedalus, who was conscripted by king minos to create the maze. in saltburn, the labyrinth is constructed upon special request from james catton, the owner of the estate, and a very wealthy man (almost like a modern day king).
the labyrinth (in the original myth) is dangerous to all characters that reside within it. it keeps all in within a chance for escape, and those that get close die tragically. in saltburn, the labyrinth functions as an ode to the ways in which riches and fame poison those that reside in the walls, keeping them locked within its dangerous talons, or in this case, cleanly trimmed hedges. it’s suburbia on a larger and more internal scale. even those that do not have riches themselves, namely farleigh and annabel, do everything they can to remain on the estate and in the good graces of those on the property with immense money. it affects how they act and how they are expected to act. farleigh, as a good example, is very stuck on the particulars of rich people’s behaviour. as mentioned above, those that try to leave the maze die tragically, and icarus is a prime example. felix, in his attempt to be better than the riches of the estate socially allow, flies too close to a possible escape from the confines of the labyrinth and is murdered as a result.
in the story of the labyrinth, it is unsolvable, unless you are clever and quick witted (manipulative), which theseus luckily is. the same is true for oliver. oliver, like theseus, gets into the heads of multiple characters, manipulating his way to the top of the food chain. the scene where oliver views the wooden counterprt of the maze through the head office in the estate, he is told that he shouldn’t be there, and a sense of ominous foreboding takes place. we feel that he has seen something that will change him. however, i believe this is simply symbolism for the fact that oliver has figured out the secret to the maze: a secret that he, an outsider and a poorer, less sociable man should not be aware of, as he is a representation of theseus, a character who has no right being king.
thirdly, oliver is juxtaposed with imagery if the minotaur during the party scene, and though this costume doubles as a reference to the changeling in a midsummer night’s dream, it is still highly important. in the original myth, people are sacrificed to the minotaur on a yearly basis. at first, felix fits the profile for the minotaur: a rich, wealthy man in a labyrinth who is regularly described as going through friends the way a young boy would go through toys. it is also true that the minotaur has often been seen as a controversial figure, one that begs the question “is a monster just a tormented creature fated to behave according to the will of the gods?”. felix’s behaviour, or namely, his attempted deviancy from the behaviour he is expected to show, is a major prt of his character arch. we expect oliver to be the victim of felix’s behaviour exactly because of this. but he isn’t. an easy explanation is that oliver is the minotaur, going through the family members as though they were victims in a maze. however, oliver is NOT the minotaur, as the myth is a lot more complex than the minotaur being the bad guy. despite what we expect, director emily fennel is leaning into the concept that the minotaur’s storyline is that of fate versus free will. the minotaur is cursed by the gods to fall into certain patterns and to be punished for its behaviour, despite it doing exactly what was expected. felix attempts to deviate from what is expected, but ultimately he fits in well with the rich and social, and his death is a punishment at the hands of a sort-of theseus who believes he is more deserving. rather, oliver is also seen to be theseus, who famously invaded the maze, manipulated its dwellers in order to navigate it, killed the minotaur, and then manipulated his way into becoming king as a result. sound familiar? it is because of this that the imagery of oliver as the changeling is particularly important. the horns can be evocative of the minotaur, offering us a red herring, where he is truly disguised as the opposite. it’s a fake out.
fourthly, king minos (owner of the labyrinth) did not die directly at the hands of theseus, he did eventually meet his downfall and was boiled to death in a bath. james catton, head of the estate, dies of a supposed suicide, also not directly by oliver’s hands, but still implicitly connected to the events of the story, much like king minos’ death.
the lore in this film is incredible, and though emily fennel has not said that the film is an adaptation of greek myth, the parallels are deliciously undeniable. saltburn is fascinating, and truly one of the best films of 2023. there is so much stuff jam packed into it, and it’s one of those films that takes a few watches to fully grasp its depth. i love it!
The major discourse I see about Saltburn is whether it’s about class or queer obsession. Surprise! It’s both! Spoilers below.
So at the start it’s definitely about queer obsession. Ollie is enthralled by Felix and as we learn at the end is happy to play the hapless little damaged boy to get his attention. We see a lot of affection and intimacy between the two. And at this point Ollie has never seen Saltburn. He knows Felix is rich and has a castle but that’s it. @magicspeedwagon7 has a great post about how we get a tour of Saltburn but not really. The whole scene is focused on Felix. He points to things out of frame and we don’t see them because we are watching him through Ollie’s eyes. We see him impressed by the house but once Felix is in the room he is all that matters. Here is where we see the major theme being his obsession with Felix.
And we see this building obsession with Felix. Leading to the bathtub scene. I think here and the grave scene is where we see Oliver at his truest. His most uncontrolled. He just can’t stop himself. He is alone and can act on pure emotion and simply do whatever he desires. He doesn’t just love Felix. He wants to ABSORB him. He wants to become one with him. Of course these are interspersed with scenes of him manipulating the family. This is when we see him desire both the house AND Felix. And the way to get the house is through Felix. We see the mingling of both themes, his obsession with Felix and his obsession with having more in terms of wealth and status.
He is being taunted constantly that Felix will throw him away because he simply enjoys broken toys until a new, more broken object comes along. He tried to disregard it. And then Pamela dies. And he watches how easily the family disregards her. She had lived with them for months and they threw her out.
Before I continue this whole thing hinges on the mirror scene. We watch him meticulously wrap his hand and then punch the mirror. Most people would just punch the mirror in a rage by Oliver takes the necessary precautions but in all that time still can’t calm himself. He still has to react with emotion.
And then his lies are revealed. And he tries to talk to Felix and he’s not having it. We see him cry alone, not for an audience, twice and one is when Felix first rejects him. He blows him off so he follows him to the maze. At this point he’s already dosed the bottle. So even though Felix is showing some tenderness. Even though he nearly kisses him. He shows concern. Ollie can’t see it. He has acted meticulously, dosing the bottle, taking a drink, throwing up, but he is acting on pure rage and fear. He’s been rejected by Felix and that’s driving him insane. And he’s scared that this is it, he’s being thrown away so Felix can go find his next fix. He can’t stop himself at this point. He can’t see the tenderness through his own emotion.
And so Felix dies. And Oliver doesn’t know what to do. The object of his desire is gone because of him. He killed him after being rejected. And he can’t handle that. He can’t accept that he reacted based on emotion. No! He’s a mastermind! The puppet master pulling the strings! But the only other time we see him cry while alone is over Felix’s death. All the times he cries in privacy are over Felix. He desired Felix and Saltburn and now there is only Saltburn. We have gone through him being obsessed with Felix, to being obsessed with Felix and Saltburn, and finally obsessed with Saltburn and convincing himself it’s always only been Saltburn.
It’s important to also understand the Cattons aren’t just rich. They’re British nobles. Oliver could only become one of them through marriage. And there’s a tendency of the middle class to appropriate the lives of those poorer while constantly desiring to the top of the food chain. Keeping up with the Joneses. They want to be the top 1% but while in America it’s possible to get there from the middle class (not easy, usually you still have to be born into that but you can do it) in Britain that’s the nobles. You can have more money than God you’ll still never be able to be them without marriage or birth.
It’s also worth noting that while killing the Catton women Ollie has no problem getting his hands dirty. He slices Venetia’s wrists, and he pulls out Elspeth breathing tube. But the men? James he simply waits to pass, I think he knew he’d never truly get an opportunity to kill him and not get caught. And Felix he poisons. He kills him in a way that not only requires no physical violence but one he also doesn’t have to witness. And he doesn’t kill Farleigh. He gets him kicked out. I think he knew Farleigh was the one who could truly see him. Not entirely, not the darkness, but he knew something else was going on there. So he was the biggest threat. So instead of neutralizing him himself, he convinces the family to do it.
Well Ollie has lost the man he loved/was obsessed with. Who could’ve been his ticket into this life. And he can’t stand he lost him to such a disgusting display of emotion. So he convinces himself it’s part of his plan. See he wanted the house. Never Felix, just Saltburn. Like so many middle class men he just wanted more. Greater. To be a part of that elite social class he never could. So he keeps going. Devising a plan to get everyone else out of his way. He’s willing to play the long game now. And if taking Saltburn allows him to also retain pieces of Felix, well that’s fine by him.
And he gets what he wants. But there’s the rub, he owns Saltburn. And all the money he could want. And he will still never be noble. He can never bridge that gap. The only way to become noble is birth or marriage. Because he lost what he truly wanted: Felix.
Who would u date/whos the finest?
Oliver (you enjoyed that bathroom scene a lil too much, didn’t you 🤨)
Felix (he’s pretty, but your ideal man is probably a sugar daddy)
Farleigh (Your taste is immaculate but they never like you back, do they?)
Venetia (‘I can help her!’ No you can’t, but go ahead n try buddy)
Elsbeth (milf lover 🫵🫵)
James (😐. Why.)
Duncan (lowkey tho…)
you’re all insane and have terrible taste/ results
New ship I'm on: James Catton x Duncan
