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Emerging Writers – Tragedy in Saltburn: The Poison of Privilege

The Big Picture is committed to giving young, emerging writers a voice in the world of film criticism. In this feature, student writers from around the world share their insights on contemporary film and new releases.

Emerald Fennell’s 2023 release Saltburn tells the story of an outsider, Oliver Quick (Barry Keoghan) who becomes immersed in the grand and noble life of his new friend Felix Catton (Jacob Elordi), the heir to a luxurious estate. Oliver rapidly learns how the upper class interacts with those around them and adapts almost seamlessly. Felix’s parents avoid any and all discussions of meaningful or unpleasant topics. His sister, Venetia (Alison Oliver), is painfully apathetic and their family friend, Farleigh (Archie Madekwe), is endlessly cruel. The mother, played by Rosamund Pike, hounds for gossip at all moments. She takes in the problems of poor souls under the guise of charity and care yet is only interested in the entertainment they can provide her.  Oliver masks his true intentions around him as he enacts his elaborate plan to take control of the estate. Despite the glaring flaws of the young people involved in the Catton estate, there is also profound tragedy in each of their stories. The culture of dishonesty, isolation, and privilege they are surrounded with is embedded in their every action and insecurities.

Let’s begin with the main supporting character, Felix Catton, the benefactor of Oliver’s stay at the Catton estate. Felix takes in Oliver as a sort of rescue dog he adopted after Oliver revealed his less-than-fortunate home life. His friendship with Oliver stemmed from pity and a need to “save” him. We can see his mother’s influence in the way he forms relationships; however, we also see hints of genuine care for Oliver that his mother would never exhibit. While Felix may truly want to be friends with those of lower status, he still seeks them out with a need to be the generous hero. It is this frustratingly close proximity to genuineness that is so tragic. Felix’s death at such a young age ensured that he could never break free of the society holding him back from growing as a person. We see his potential and root for him, but that potential is ripped from the audience, Felix, and those with whom he could have had meaningful relationships.

Farleigh Start, the Cattons’ long-time family friend, is in a similar situation to Oliver, as he developed his coldness as a sort of survival method. He relies on the Cattons’ loyalty for a place to stay over summers and winters; however, he is in a unique and delicate situation. He is an outsider with an American mother and is a person of color. However, unlike Oliver, he is familiar with the way the rich interact. He sees the cruelty of Felix’s parents and mimics it. He creates scenes at the expense of others that keep him seen as entertaining to the rest of the family. His unkindness helps him stay in the good graces of the Cattons. However, he has been acting in this way for so long that he no longer recognizes it as a coping mechanism but rather as his way of life. He begins to enjoy being cruel and is brainwashed to harm those with whom he has the most in common.

Felix’s sister Venetia’s story holds a tragedy stemming from fragility and insecurity. Her intense detachment becomes a way to cope with the awful things those around her say about her. She seems to be the one who spends the most time trapped within the estate with little to no outside connections. Thus, Venetia is surrounded by gossip and is the subject of some as well. Being a young girl with no positive relationships, this takes a toll on her not seen in Felix or Farleigh. Her own mother even tells Oliver about her private sexual experiences and eating disorders. Oliver sees this and uses her insecurities to get closer to her. Venetia is tragically quick to accept his manipulation as it is the closest she has ever gotten to true care. Her emotional insecurity, originally formed to protect her, becomes her downfall. Oliver hardly has to put in any work to get rid of her, as he simply leaves a razor in her bathroom and waits for her to decide to commit suicide. 

These three young characters were doomed from birth to become cruel and ignorant, either to cope with cruelty directed towards them or as a result of socialization. 

By Lydia Williams

Lydia Williams is an English major at Beloit College, Wisconsin. They enjoy looking deeper and analyzing films the same way they analyze literature. They are excited to have their writing available to the public.

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