the fictional catton family adheres to a strict nightly ritual: donning their finest attire for dinner, followed by congregating in an opulent drawing room to view rather unremarkable films on a modest television.
upon oliver's arrival, he seamlessly assumes the role of the most deferential member of the household, diligently observing the established order. he gazes with wide-eyed wonder at this world that appears both peculiar and magnificent. driven by a deep-seated desire to feel a connection with felix, oliver seems prepared to absorb every aspect of this environment.
this dynamic suggests a unique and more intricate form of homoeroticism, possessing a deadlier and more overt quality compared to the subtle allusions often found in platonic male friendships among heterosexual individuals.
saltburn features several instances that evoke this sophisticated homoeroticism. ultimately, the narrative progresses to more explicit revelations. contemporary audiences frequently express dissatisfaction with films, deeming them excessively lengthy and unengaging.
here, we encounter a passionate, overtly queer narrative centered on complex individuals.
many viewers express a desire for more such cinematic experiences. having grown up watching brideshead revisited, its influence on saltburn is readily apparent. however, a significant distinction emerges in how queerness is portrayed within a homophobic society versus one that is more accepting.
saltburn offers a contrasting perspective.
the film subtly hints at an undocumented history of semi-acceptable queerness within the upper echelons of society during the early twentieth century. the initial segments of brideshead revisited are deeply rooted in the almost explicitly depicted queer relationship between charles andsebastian.
their willingness to stand together and offer each other support, even in public settings, signifies an intimacy that transcends the platonic.
consequently, we have a television series produced in the 1980s, penned in the 1940s, and set in the 1920s, which explores the complexities of queer love and emotional pain through a clear yet safely implied lens.
what about saltburn, a film situated nearly a century later? saltburn presents queerness in an unvarnished, explicit manner. surprisingly, this rather broad and direct depiction of queer themes appears less explicit than the nuanced portrayal in brideshead revisited.
the central character, oliver, harbors affections for felix, a fact explicitly stated at the film's commencement.
nevertheless, the film's narrative does not apply a distinctly queer perspective to the events that are overtly queer in nature. in alignment with numerous recent productions, saltburn constructs a world where queer sexual expression exists independently of established queer identities or the presence of homophobia.
one might argue that this represents a positive development.
brideshead revisited delves into the experience of fluid sexuality and the internal conflicts associated with religious beliefs, without resorting to overt depictions of homophobia directed towards charles or sebastian.
it unfolds as a poignant tragedy, with homophobia serving as the unspoken antagonist. this absence of explicit homophobia imbues their shared moments with a greater sense of sadness and tenderness, resonating deeply with queer audiences even a century later.
if a film were to employ a similar level of realism and be produced and set in the present day, it would still need to contend with homophobia, albeit a different manifestation than that encountered in earlier eras.
the evolution of societal attitudes and the nature of prejudice necessitate a nuanced approach to portraying these themes in contemporary cinema.