Emerald Fennell’s film “Saltburn” has sparked a lot of discussion and debate, particularly regarding its unforgettable ending. Barry Keoghan, the actor who plays Oliver in the film, recently shed light on the creative process behind the provocative final scene. In an interview, Fennell revealed that the original script had a different ending altogether, which did not include Oliver dancing through the manor with no clothes on. This article will delve into the controversy surrounding the ending and analyze the reasons behind the director’s decision.
Initially, the ending of “Saltburn” was envisioned quite differently. Keoghan shared that the original version had Oliver on his way to breakfast, where he would be served runny eggs by the butler. This scene would have been a callback to an earlier moment in the film. Fennell explained that this version lacked the post-coital triumph she wanted to convey. It was crucial to Fennell that viewers were both repulsed and intrigued by Oliver’s actions, ultimately rooting for him despite his depravity.
Fennell aimed to create a dance with the devil, an intricate balance between fascination and disgust. She wanted viewers to join Oliver on his journey and be captivated by his audacity. The ending needed to be triumphant, serving as a post-coital win and a desecration. By discarding the original breakfast scene, Fennell could make way for a bolder, more visceral climax.
In the final scene, Oliver is seen dancing around Saltburn, completely naked, as Sophie Ellis-Bextor’s “Murder on the Dance Floor” plays in the background. When this concept was proposed to Keoghan, he immediately embraced the challenge. He felt that it perfectly embodied Oliver’s ownership of the manor and showcased his full confidence. For Keoghan, it was not just about stripping down; it was about asserting his dominance and declaring his freedom within the confines of the mansion.
Although Keoghan was enthusiastic about the scene, he did have some initial hesitation. Being completely nude on camera was a daunting prospect for him. However, after the first take, any reservations he had vanished. The comfortable environment created on set allowed him to fully immerse himself in his character’s journey. Keoghan’s focus shifted from his own nudity to the overall narrative and the story being told.
Fennell, as the director, was meticulous in her pursuit of the perfect shot. She filmed the scene a total of 11 times, aiming for that elusive balance of technical perfection and devilish joy. By the seventh take, the scene was technically flawless, but it lacked the wicked exuberance Fennell envisioned. Keoghan’s commitment to the role was evident as he willingly repeated the scene four more times until the desired feeling of evil joie de vivre was captured on film.
The controversial ending of “Saltburn” has drawn polarizing reactions from viewers. Some find it audacious and exhilarating, while others view it as gratuitous and unnecessary. The decision to have Oliver dance naked in the manor was undeniably bold and meant to provoke strong emotions within the audience. It is a testament to Fennell’s vision and Keoghan’s dedication that the scene is impossible to ignore.
The ending of “Saltburn” is a triumph of audacity and artistic exploration. The departure from the original script allowed for a more provocative and memorable conclusion to Oliver’s story. Fennell’s desire to create a dance with the devil was expertly realized through Keoghan’s electrifying performance. Whether viewers are captivated or repulsed by the final scene, it undeniably leaves a lasting impression. “Saltburn” challenges societal norms and pushes the boundaries of storytelling, making it a film that is hard to forget.
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