In the unpredictable realm of storytelling, there’s a peculiar allure to narratives where the antagonist emerges victorious — the “bad guy winning,” so to speak. While traditional storytelling often revolves around the triumph of good over evil, there exists a fascinating subversion of this norm that resonates with audiences.
At times, we find ourselves captivated by the unexpected plot twists and moral complexities that arise when the antagonist claims victory. This deviation from the conventional narrative structure challenges our perceptions and stirs thoughts about the nature of justice, morality and the shades of gray that color our understanding of what is right and what is wrong. The celebration of the villain in certain stories becomes a testament to our appetite for narrative innovation and the exploration of the human experience.
In essence, the allure of the antihero lies in its ability to stretch the boundaries of stories, inviting us, the audience, to ponder the multifaceted nature of morality, question societal norms and revel in the unpredictability of narrative outcomes. It’s a celebration of narrative innovation that reminds us that, in the realm of storytelling, sometimes the most compelling tales emerge when we embrace the unexpected and challenge the well-established contrasts of good and evil. They may be the opposite of each other but are both part of the same coin.
Sometimes, it is just a matter of perspective.
This trope in movies has left an indelible mark on cinematic storytelling, offering audiences narratives that defy the traditional arc of heroes prevailing over villains. This narrative twist has been expertly employed in various genres, providing a fresh and often thought-provoking take on morality and justice. The narrative power of the bad-guy-winning trope forces audiences to confront moral complexities, fostering a fascination with stories that defy the conventional ideas of good and evil.
In Saltburn, directed by Emerald Fennell — previously known for the compelling 2020 film, Promising Young Woman — the spotlight celebrates the villain. Barry Keoghan delivers a captivating performance as Oliver Quick, a scholarship student at Oxford struggling to assimilate into his surroundings. His life takes a significant turn when he befriends Felix Catton (Jacob Elordi). Moved by Oliver’s tumultuous past involving parental substance abuse and the sudden demise of his father, Felix extends a compassionate invitation for Oliver to spend the summer at the Catton family estate, Saltburn.
Amidst the seemingly idyllic setting, Oliver’s complex emotions unfold. His friendship with Felix transforms into a romantic fixation, while simultaneously developing a fondness for Felix’s sister, Venetia (Alison Oliver). However, the narrative takes a disturbing turn when Oliver’s advances toward Venetia are witnessed by Felix’s cousin, Farleigh (Archie Madekwe). As this and more revelations come to light, Oliver’s darker tendencies emerge, setting the stage for a psychological drama that threatens to unravel the very fabric of the Catton family.
Emerald Fennell skillfully navigates the complexities of character dynamics, inviting the audience to confront the unsettling facets of human nature in a tale that transcends the conventional boundaries of friendship and desire.
Upon finishing Saltburn, a sense of déjà vu crept in, prompting me to draw parallels with a movie I had encountered before. In contrast to the distinctive and original narrative of Promising Young Woman, director Fennell seemed to draw inspiration from well-established cinematic sources. Saltburn exhibits notable echoes of The Talented Mr. Ripley, a 1999 film featuring Matt Damon and Jude Law. Both stories revolve around protagonists assuming false identities to infiltrate the world of an affluent and attractive individual.
In these tales, the central characters become infatuated with the lavish lifestyle of their love interest, and their obsession becomes a driving force, impervious to any interference. While Saltburn doesn’t adhere strictly to this template, its thematic resonance was strong enough to prompt me to revisit the Matt Damon classic from my movie collection.
Saltburn unfolds with an abundance of moments that took me entirely by surprise. Let me be frank: this film is an intensely charged, sexually driven drama. Certain scenes within it left me both taken aback and captivated, showcasing a raw and provocative narrative. There were instances when I skeptically thought, “There’s no way they’re going to capture that on camera,” only to find myself moments later exclaiming, “I can’t believe they actually put that on camera.” Unlike some films that incorporate explicit content for the sake of sparking discussions and social dialogue, Saltburn doesn’t seem to be pursuing that agenda. Instead, these moments feel organically integrated, albeit in a provocatively intense manner.
The film invites us to witness the sinister depths of Oliver’s character and the profound extent of his obsession. In this context, the explicit scenes seamlessly contribute to the film’s narrative, fitting snugly like pieces of a puzzle.
Saltburn stands as a disturbingly twisted drama, securing a commendable four out of five stars. Barry Keoghan and the ensemble cast deliver stellar performances that are nothing short of captivating. Director Emerald Fennell continues to showcase her prowess, adding another excellent film to her repertoire. While the premise may draw inspiration from familiar territory, a common occurrence in the world of cinema, Saltburn sets itself apart with an array of unexpected twists and turns within its psychological narrative.
This film demands a certain level of viewer readiness, as it delves into explicit sexual themes and dark humor that might not resonate with everyone. However, for those who appreciate the blend of psychological drama and dark comedy, Saltburn proves to be a unique and intriguing cinematic experience that shouldn’t be missed.