Broey Deschanel
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Saltburn: The Tumblr-ification of Movies (early access)
🕑 Added 2024-02-26 20:06:55 +0000 UTCSaltburn (or, the Untalented Mr. Ripley) is a deeply unoriginal piece of filmmaking. What does it say about our culture today?
SOURCES:
Peter Bradshaw, “Review: The Talented Mr. Ripley”. The Guardian (2000).
Richard Brody, “”Saltburn is a Brideshead for the Incel Age” The New Yorker (2023).
David Carr, “Anthony Minghella, 54, Director, Dies” The New York Times (2008).
Patrick Cremona, “Emerald Fennell plays down Saltburn's Talented Mr Ripley comparisons” Radio Times (2023).
Roger Ebert, “The Talented Mr. Ripley”, Roger Ebert (1999).
David Edelstein, “How (and Why) Anthony Minghella’s Talent Wasn’t Quite Fulfilled” New York Magazine (2008).
Mark Harris, “Honoring Anthony Minghella” Entertainment Weekly (2008).
Mario Falsetto ed. Anthony Minghella: Interviews, University of Mississippi (2013).
Todd McCarthy, “The Talented Mr. Ripley”, Variety, (1999).
Janet Maslin, “‘The Talented Mr. Ripley’: Carnal, Glamorous and Worth the Price”, The New York Times (1999).
Craig McLean, “Emerald Fennell on our “sadomasochistic relationship with the aristocracy”” The Face (2023).
Craig McLean, “Saltburn’s cultural blueprint: the books, films and music that inspired the film” The Face (2023).
Adam Nayman, “‘Saltburn’ is stylish but shallow, like a subpar ‘White Lotus’ episode” The Toronto Star (2023).
Terence Patrick Murphy and Kelly S. Walsh “Coincidence and Counterfactuality: The Multiple Plot Structure of The talented Mr. Ripley (1999)” Film Criticism, Vol. 42, No.1 (2018).
Anna Pochmara, “I Don’t Think I Have an Attention Span for Real Life Anymore”: Excessive Stimulation, Sense of Meaninglessness, and Boredom in Sam Levinson’s Euphoria,” European Journal of American Studies, vol. 7 (4) (2022).
Frank Rich, “The Talented Mr. Minghella”, The Guardian (2000).
Charles Taylor, “The Talented Mr. Ripley” Salon, (1999).
Michael Trask, “Patricia Highsmith’s Method”, American Literary History. Vol. 22, No. 3 (Fall 2010).
Kelley Wagers, “Tom Ripley, Inc.: Patricia Highsmith’s Corporate Fiction”, Contemporary Literature, Vol. 54, No. 2 (2013).
Comments
Broey Deschanel
That's a great point! I think similar to Sam Levinson it's a testament to how fraught the industry is right now and who is able to make films and who isn't! Both she and Levinson have ample resources at their disposal without requiring any of the skills it takes to get to that level.
Mega
I was talking with this British director about Saltburn, and she said she thinks it was just Emerald having fun. As in, the movie feels like she had a bunch of barbies in a dream house and was making them kiss and fight. Emerald had the financing, the cast, the backing, and she was having a blast. Which is great! But not a movie. Not something to be taken seriously. And I think that's what bothers me about her and Sam. They want to be treated like auteurs or high-end directors for playing around with gimbals or blue and purple lighting with whatever it boy/girl they can find.
Achraf
I accidentally deleted my last comment! This film is so awful so I’m glad you made this. I also wanted to add that the filmmaker herself is from an extremely rich family in the UK. I think it really adds to this upper class paranoia in Britain of those poorer than them in an unironic way.
