‘Saltburn’ Is A Horny Haunted House Film
It wouldn’t be a stretch to say that Saltburn is one of the most divisively talked about films of 2023. While a lot of the conversation has been focused on how “weird and wild” the film is, there’s been much debate on what genre it falls into. Naturally, as my podcast Specter Cinema Club examines horror films by their sub-genres, this discussion intrigues me. The erotic thriller inspirations are quite clear, as well as a level of social satire that goes hand-in-hand with the film’s dark comedy. But where does it stand as a genre film?
I believe the film is plenty dark enough with a handful of horrific scenes to make a solid case, but it’s the heavy gothic influences that give me confidence in calling this a horror film. So come spend the night with me as I break down Saltburn through the lens of a (horny) haunted house film. Spoilers ahead!
The (Bi)Curious Stranger
Saltburn is seen through the eyes of Oliver Quick (Barry Keoghan), who we’re introduced to as a naive outsider enamored with Felix Cattan (Jacob Elordi) and the glamorous world within the Saltburn estate. As the story unfolds we see Oliver has a lot more festering under the surface, yet he is still a naive outsider. While not from poverty as we’re led to presume, even being middle class is still outside the realm of understanding the lifestyle that Saltburn entails. And despite having a meticulous long con he had planned out before he even experienced Saltburn, Oliver is still naive to how intoxicating that world is and the depths he would go to remain there.
While the naive stranger is common in gothic horror stories, the inversion of Oliver plays more in the erotic thriller world à la Suzie in Wild Things. Characters where their nativity threshold was surpassed by their dark desires after getting a taste of it. While most protagonists in a gothic horror story are looking for a way to escape their nightmarish circumstances, Saltburn presents an even darker spin where Oliver does everything in his power to stay.
Saltburning Down the House
Director Emerald Fennell published an article in the LA Times discussing her gothic influences on the film and describing the Saltburn manor as “inescapably the main character, never changing, and impervious to those living in it”. It is fascinating that the mansion itself does not change on its own. Instead, it’s only set dressed for parties by others.
The mansion also changes with time, as Saltburn transforms from a longstanding landmark in the daylight to a spooky castle bathed in moonlight and fog at night. The sun pouring into the large rooms and the gorgeous outdoor spaces make the estate feel so inviting during the day. In the evenings and late nights, the long hallways and candlelit dinners feel intimidatingly spooky. Not to mention a giant hedge maze for a little seasoning via The Shining. Even the detail of characters smoking cigarettes in nearly every scene lends a feeling of danger and privilege that exists within a place like this. However, the house is only as dangerous as those who lurk within.
Monster Under the Bed
When I look at Saltburn as a haunted house film, there’s almost a possession angle at play. There’s an enticing energy within the walls of the manor that consumes Oliver. Yes, he planned all along to infiltrate and take the estate but not in the way he imagined. Oliver states in his opening monologue that he loved Felix, but wasn’t in love with Felix. Which might have been true before arriving. However, his passionate obsession with Felix and use of sexual acts are what cause him to make mistakes along the way and have brief moments of doubt.
This hesitation also surfaces with his jealousy of Felix’s cousin Farleigh (Archie Madekwe) and underestimation of Felix’s sister Venetia (Alison Oliver), classic gothic character archetypes Fennell describes as “the Jealous Rival” and “the Desperate Sister” respectively. These two end up being factors he did not plan for and where we see Oliver become a femme fatale of sorts using his sexual wiles to further his control of the situation. This shift in behavior reflects Oliver’s growing obsession with Felix and the sexual desires he can’t act upon, redirecting these lustful feelings to manipulate the Cattan family.
When watching a haunted house film with possession elements, like The Amityville Horror, you question how much of a character’s actions were influenced by the haunted house and how much of it was in that person, to begin with. You watch how the ominous background begins to change the possessed person. As we learn a good amount of the events in Saltburn came from within Oliver, the sprawling estate allows him to fully embody his true monstrous form.
This evolution starts during Oliver’s encounter with Venetia. Oliver spots the alluring sister outside his window basking in the moonlight like a gothic dream. As Oliver performs sexual acts while Venetia is menstruating, he says “Lucky for you I’m a vampire”. Aside from the obvious implications, the word choice feels very intentional. Vampires are very common in gothic horror stories as soulless parasites. Oliver is treated more like a familiar in his initial courting of Felix, gaining the benefits of his status before truly transforming through his experience at Saltburn.
I’ve mentioned Saltburn as a haunted house, but haunted by what? There aren’t any explicit ghosts, minus an off-handed comment by Felix about Granny. Rather the estate is haunted by memories of those who have fallen to the charms of Saltburn. There are allusions to those before Oliver; like when Venetia remarks “I like you better than the last one” or Felix references the “Eddie situation” of years past. While we never see these others, their presence is felt amongst everyone residing in Saltburn.
There’s no implication of foul play with what happened to Eddie or any of Felix’s previous “toys”. However, there’s a hint of it in the air when Pamela dies shortly after her departure. These ghosts are made real by the actions of Oliver, whom he now gets to live with by claiming Saltburn. Oliver is destined to live out his life by continuing the Saltburn legacy of ignoring past sins in favor of personal pleasures and entertainment. This is emphasized by the needle drop of 2023: “Murder on the Dance Floor”. While it seems he feels no remorse for his actions, Oliver will forever be haunted by the tragic memories he created within the walls of the mansion. Though the finale appears to be a gleeful celebration, the reality is that Oliver Quick can only nakedly dance away the ghosts of his past for so long.
“Lots of People Get Lost In Saltburn…”
Many gothic horror stories end with good triumphing over evil, while others end in tragedy. Oliver’s story is unique in that it ends with neither. While there have been discussions of an “eat the rich” theme at play, that would only be true if Oliver’s actions came from a righteous cause and if the Cattan family deserved their fates. Sure they might have been blissfully unaware of the effects their lifestyle has on others, but they are not evil. In Saltburn, there’s no good or bad: only messy people who cannot control their primal urges. How much of that is simply in human nature and how much of it is the power of Saltburn to make people lose their minds?
Just as the film suggests, Saltburn isn’t just a place. It’s an idea, a lifestyle, a near-supernatural feeling that intoxicates everyone it consumes. Though Oliver’s aspirations are troublesome, to say the least, he’s still relatable to our feelings of being entranced by the mystery of a lavish world we cannot fathom. As the shock from bathtub licking subsides, I believe Emerald Fennell’s Saltburn will be looked at as a modern alternative gothic haunted house story; where cobwebs are replaced by neon string lights and creepy piano melodies are swapped for 2006 indie pop bangers.
Categorized:Editorials
