By now, your social media feeds have undeniably been taken over by clips and memes of Emerald Fennell’s homoerotic epic featuring Barry Keoghan in various states of undress as he maneuvers through bathtubs, cemeteries and thirsty dance sequences trying to insert himself into Jacob Elordi’s life and pants.
That infamous tub scene, which finds Keoghan imbibing the used bath water Elordi was “frolicking” in minutes earlier, recently inspired a viral scented candle in its freak-tastic honor.
How about we take this to the next level?
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Keoghan and Elordi even teased that their on-screen bromance had become real as they leaned in pretending like they were going to kiss at the film’s L.A. premiere in November.
My sexuality is Jacob Elordi and Barry Keoghan almost kissing at the #Saltburn premiere
While some may roll their eyes at the queerbaiting, Keoghan is now explaining that his flirtatiousness with Elordi isn’t just for show.
“I’m really flirtin’, ” the 31-year-old told GQ in a new cover story. “We were constantly close. It ain’t just for the cameras and the premiere[s]. Me and Jacob—he’s like a brother to me, honestly.”
That so-called brotherhood made it very easy for Keoghan to get up close and personal with the Euphoria star.
“I think when you’re comfortable with someone, you can be as close as you want, you know what I mean?,” Keoghan said. “It’s not like, ‘Oh, don’t come near me’—it’s like, I’m comfortable. When I’m comfortable around people, I’m comfy.”
He added: “But I’m comfortable with Jacob. Messin’ about. Havin’ a laugh. We’re bein’ lads. We’ve just done a movie where we had to kiss, man. Look at the scenes we’ve done. You have to be comfortable with yourself.”
On top of raising eyebrows and making jaws drop, Saltburn has many finally seeing Keoghan as a grown hunk after previously portraying “freaky” characters in films like The Killing of a Sacred Deer and The Banshees of Inisherin.
The Irish actor is very appreciative of his newfound status.
“It’s nice, man,” he told the outlet. “It’s nice not just being looked at as the weird-looking guy, the unique feckin’ freaky little freak man-child, freak child-man, whatever you want to call it. It’s nice to see people kind of look at you in that way. I’ll be honest. It is nice.”
With his leading man era in full bloom, Keoghan is not planning on giving up on any of his off-beat qualities.
“And now I’m just Man. Freak-Man. Man-Freak,” he joked.
And if any scene was indicative of Keoghan’s arrival as a leading man it’s Saltburn’s now-notorious final scene which finds the very toned star flaunting every one of his acting muscles dancing to Sophie Ellis-Bextor’s 2001 hit “Murder On The Dancefloor.”
The impressive scene was shot in 11 takes and was completed without the use of any prosthetics. It’s all 100% pure Keoghan!
But showing off his goods was not what scared our boy Barry.
“Without sounding cocky, it wasn’t the nudity. That was fine for me. It was the dancing,” he previously told Vanity Fair.
“I don’t really dance, I don’t know how to move my hips certain ways and your body has to go in certain directions and stuff like that. The dancing scared me. So once I was comfy with the dance, the rest was easy.”
And very easy on the eyes too!
Saltburn is now streaming in all its glory on Amazon Prime Video.
Jacob Elordi is especially “proud” of one of his very explicit scenes with Barry Keoghan in ‘Saltburn.’
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I liked it more when we complained about the homophobes, instead of complaining about whether an actor is gay enough. This idea that Hollywood is full of heterosexual men is also ridiculous.
For the most part, Saltburn is amusing enough, but don’t be fooled by the kinky sex vibes that it’s headed anywhere really groundbreaking. In the end, it’s a knock-off of Hal Prince’s 1970 “Something For Everyone.”
I felt like it was a poor man’s Talented Mr Ripley, with a few unnecessary and gratuitous scenes thrown in purely to try and differentiate itself from Talented Mr Ripley.
The movie is interesting and well made but really nothing special. The “shocking” aspects also don’t add anything. It’s simply another movie with a queer cloak on top of it but still mostly focuses on hetero dynamics and has no real insights or anything to say.
As far as the “flirting”, it’s whatever. While at least 50% of Hollywood is in the gender, sexual, affection, romantic, emotion, commitment spectrum. My indifferences doesn’t stop their public interactions from coming off cringe-y though. Y’all don’t need to make the “flirting” a public spectacle if it’s indeed “real”.
I watched this film after hearing a lot of hype about it. I have nothing against the acting, the filming, the locations, the dialogue, etc. In all those respects it was a ‘decent’ film. The ending didn’t necessarily surprise me, but to me would have been better left unseen – leave it to the imagination as to the ‘why’ and ‘how’.
What I disliked about it is that it came across as trying to be a hybrid of Brideshead Revisited and The Talented Mr. Ripley…..both of which I would consider ‘superior’ films to Saltburn. I also thought both the male leads looked their age, and I don’t mean ‘old’ but certainly not ‘Oxford Boys’ – much the same as Armie Hammer looked his age in Call Me By Your Name, when ‘Oliver’ should be about 22, 23…
For ‘schoolboy romance’ films, try ‘Maurice’ with Hugh Grant and James Wilby, or Another Country with Rupert Everett and Carey Elwes….
I completely agree with every point you shared, including past films suggested as far better examples of ‘Oxford boys’ representation & solid storyboards that flow effortlessly together.
The acting was indeed great as all the character development protrayed, however, rather dumbfounded why R.Pike nominated for best supporting actress at Golden Globes. Especially in light of her limited time seen throughout the film.
I had high hopes for this film, yet so disappointing due to choppy storyboard leaving many gaps. Guessing this film was made during ‘script writers strike’ as an opportunity to do a project to fill time. At expense of viewers, evidently.
Hopefully the 2 leads get better scripts going forward, as they’re BOTH great actors.
“Brideshead Revisited” is probably one of the best BBC adaptations of a novel ever. Impeccable cast, and nobody understood Roman Catholicism of that period better than Evelyn Waugh.
Queerbaiting has been defined as, “the incorporation of apparently gay characters or same-sex relationships into a film, television show, etc. as a means of appealing to gay and bisexual audiences while maintaining ambiguity about the characters’ sexuality.”
In the movie, the 2 lead actors, especially Barry’s character has an affinity towards each other, but it is ambiguous. Unfortunately, this movie is a perfect example of queerbaiting.
There are all kinds of weird erotic connections and obsessions between all kinds of people. Just because this film portrayed such an obsession, it doesn’t mean they were “queerbaiting” (a term I find ridiculous).
This movie was amazing. What is wrong with the people who reply to these articles? So many are so negative. It was a beautiful movie about infatuation. All the quirky characters made this a joy. One person walked out when started having sex on the grave. I thought it was bold for someone to not care what anyone thinks and IT JUST GOES THERE. Barry and Jacob have great chemistry and that’s why it works so well. Come on people just learned to enjoy these films.
It was about infatulation and was visually beautiful, but it was quite brutal and nihilistic. Sorry, but going there for pointless reason doesn’t make a movie amazing. But we all have opinions and thankfully are free to express them. You loved it, many people found it derivative. That’s that.
I don’t think so. There were several scenes in which the difference in height between Barry and Jacob (and Archie Madekwe) was very obvious. My reaction was that I didn’t realise Barry was so small (I saw him some years ago in a Dublin restaurant). | looked up the heights of the actors. Barry is 5’8″, Jacob and Archie are both 6’5″.
It’s basically a revenge flick. You either like them, or you don’t. I liked it because I often fantasize about taking similar revenge on the Queerty commenting community.
I hear you, but revenge for what? SPOILERS!!! The mother actually likes Keoghan’s character quite a bit and…well, you know what happens. Is it revenge for merely being middle-class, since Keoghan’s character isn’t poor or working-class, as he claims but actually upper middle-class (as suggested in that scene of deep embarrassment involving the visit to his parents)? Is it revenge for not being born a titled aristocrat? And if so, what about the implications of the film’s ending? Why are the rich aristocrats turned into victims and martyrs? I mean, I hear what you’re saying but thinking about it, I found the film actually quite reactionary.
::: SPOILER ALERT :::
Felix rejects Oliver for lying to him about his family. Oliver repeatedly begs for forgiveness but Felix is hardened to his pleas. Oliver is to leave after his dreadfully degrading birthday party where he realizes his entry into the dreamlike, fantastical life of Saltburn is slipping away. Oliver takes revenge for his rejection, murdering Felix in a rage. Felix’s murder starts a cascade of murders to destroy the entire family, leaving Oliver with Saltburn. Sure, there are other motivations at play (obsession, loneliness, desire, envy, competition) but I would still classify it as a revenge flick.
Saltburn is essentially a knockoff of The Talented Mr. Ripley and Brideshead Revisited crossed with Teorema, but nihilistic with retrograde politics. The “shocking” bits felt gratuitous, but I get that Fennell wants to shock, so ultimately I said, why not? At least the film had some very good acting (Pike, Grant, Keoghan in an impossible) part, great cinematography, and a nice soundtrack. The Madekwe character was a total waste, though, and I know Queerty loves Keoghan but he is not easy on the…well, I’ll be nice. As I said, he’s a talented actor.
As an art director, I’ve long been aware that certain models and actors look better on motion picture than they do in still picture. Keoghan is one of them. He’s much more appealing in film than he is in stills.
I think Keoghan might be a good example of an actor looking better from one side as opposed to the other. Pictures of his right side suggest he’s okay-looking. Kind of lumpy and snarly. But in those of his left side, he comes across almost as boyish and cute.
I’ve never quite understood how that works, but I have seen how the camera has its own preferences. What it likes, it likes, and if you’re smart you don’t go against it. I’ve met actors who in person were bland or typical, but on film become magnetic…and vise-versa.
I think the most famous example of this is Claudette Colbert, who preferred being shot from her left. The going joke about her was, the right side of her face was like the dark side of the moon….never seen.
I did too. It was a good movie about obsession. The obsession shifted during the movie, but the Cattons kept freely spilling each others weaknesses. I thought the grave humping was well done.
I don’t think it was a bad movie. But it’s saying the same basic things about the elitist rich and about repressed queerness that we’ve seen tons of times. The gratuitous violence and sex doesn’t make it more “edgy” or better. Had it actually explored traumas, queer insecurities, obsession with someone who’d never love you back, frustration with the gender, sexual, affection, romantic, emotion, spectrum- it could have been pretty good. Instead, it mostly used that stuff as a launching point to “shock” factor and “smart” dialogue. I also agree that the actors hardly looked the age they’re supposed be portraying. I definitely don’t regret watching it though.
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Bosch
I liked it more when we complained about the homophobes, instead of complaining about whether an actor is gay enough. This idea that Hollywood is full of heterosexual men is also ridiculous.
inbama
For the most part, Saltburn is amusing enough, but don’t be fooled by the kinky sex vibes that it’s headed anywhere really groundbreaking. In the end, it’s a knock-off of Hal Prince’s 1970 “Something For Everyone.”
Louis
I felt like it was a poor man’s Talented Mr Ripley, with a few unnecessary and gratuitous scenes thrown in purely to try and differentiate itself from Talented Mr Ripley.
Donston
The movie is interesting and well made but really nothing special. The “shocking” aspects also don’t add anything. It’s simply another movie with a queer cloak on top of it but still mostly focuses on hetero dynamics and has no real insights or anything to say.
As far as the “flirting”, it’s whatever. While at least 50% of Hollywood is in the gender, sexual, affection, romantic, emotion, commitment spectrum. My indifferences doesn’t stop their public interactions from coming off cringe-y though. Y’all don’t need to make the “flirting” a public spectacle if it’s indeed “real”.
SDR94103
twinks and their agenda. Who cares.
North Of Boston
I watched this film after hearing a lot of hype about it. I have nothing against the acting, the filming, the locations, the dialogue, etc. In all those respects it was a ‘decent’ film. The ending didn’t necessarily surprise me, but to me would have been better left unseen – leave it to the imagination as to the ‘why’ and ‘how’.
What I disliked about it is that it came across as trying to be a hybrid of Brideshead Revisited and The Talented Mr. Ripley…..both of which I would consider ‘superior’ films to Saltburn. I also thought both the male leads looked their age, and I don’t mean ‘old’ but certainly not ‘Oxford Boys’ – much the same as Armie Hammer looked his age in Call Me By Your Name, when ‘Oliver’ should be about 22, 23…
For ‘schoolboy romance’ films, try ‘Maurice’ with Hugh Grant and James Wilby, or Another Country with Rupert Everett and Carey Elwes….
hiphapndude
I completely agree with every point you shared, including past films suggested as far better examples of ‘Oxford boys’ representation & solid storyboards that flow effortlessly together.
The acting was indeed great as all the character development protrayed, however, rather dumbfounded why R.Pike nominated for best supporting actress at Golden Globes. Especially in light of her limited time seen throughout the film.
I had high hopes for this film, yet so disappointing due to choppy storyboard leaving many gaps. Guessing this film was made during ‘script writers strike’ as an opportunity to do a project to fill time. At expense of viewers, evidently.
Hopefully the 2 leads get better scripts going forward, as they’re BOTH great actors.
inbama
“Brideshead Revisited” is probably one of the best BBC adaptations of a novel ever. Impeccable cast, and nobody understood Roman Catholicism of that period better than Evelyn Waugh.
Love321
Queerbaiting has been defined as, “the incorporation of apparently gay characters or same-sex relationships into a film, television show, etc. as a means of appealing to gay and bisexual audiences while maintaining ambiguity about the characters’ sexuality.”
In the movie, the 2 lead actors, especially Barry’s character has an affinity towards each other, but it is ambiguous. Unfortunately, this movie is a perfect example of queerbaiting.
eeebee333
Who cares? It’s entertainment. I’d like to see the word “queerbaiting” stricken from the English language.
Bosch
The bathtub scene is anything but ambiguous.
bachy
There are all kinds of weird erotic connections and obsessions between all kinds of people. Just because this film portrayed such an obsession, it doesn’t mean they were “queerbaiting” (a term I find ridiculous).
deann
I am 100% sure that he would not have been tongue and cheeks with a gay co-star.
cuteguy
Who wouldn’t be in love with Jacob Elordi? He’s the ideal man and my future hubby (in my fantasies lol)
sickofthehate
This movie was amazing. What is wrong with the people who reply to these articles? So many are so negative. It was a beautiful movie about infatuation. All the quirky characters made this a joy. One person walked out when started having sex on the grave. I thought it was bold for someone to not care what anyone thinks and IT JUST GOES THERE. Barry and Jacob have great chemistry and that’s why it works so well. Come on people just learned to enjoy these films.
Fenwick22
Someone disagreed with you. Welcome to the world. And the movie was horrible.
Kangol2
It was about infatulation and was visually beautiful, but it was quite brutal and nihilistic. Sorry, but going there for pointless reason doesn’t make a movie amazing. But we all have opinions and thankfully are free to express them. You loved it, many people found it derivative. That’s that.
dbmcvey
I enjoyed the movie, but after thinking about it for a while I don’t think it was about anything.
nm4047
Did Jacob have to stand in a ditch when filming next to Barry. Touch of the Nicole & Tom.
john.k
I don’t think so. There were several scenes in which the difference in height between Barry and Jacob (and Archie Madekwe) was very obvious. My reaction was that I didn’t realise Barry was so small (I saw him some years ago in a Dublin restaurant). | looked up the heights of the actors. Barry is 5’8″, Jacob and Archie are both 6’5″.
bachy
It’s basically a revenge flick. You either like them, or you don’t. I liked it because I often fantasize about taking similar revenge on the Queerty commenting community.
Kangol2
I hear you, but revenge for what? SPOILERS!!! The mother actually likes Keoghan’s character quite a bit and…well, you know what happens. Is it revenge for merely being middle-class, since Keoghan’s character isn’t poor or working-class, as he claims but actually upper middle-class (as suggested in that scene of deep embarrassment involving the visit to his parents)? Is it revenge for not being born a titled aristocrat? And if so, what about the implications of the film’s ending? Why are the rich aristocrats turned into victims and martyrs? I mean, I hear what you’re saying but thinking about it, I found the film actually quite reactionary.
bachy
::: SPOILER ALERT :::
Felix rejects Oliver for lying to him about his family. Oliver repeatedly begs for forgiveness but Felix is hardened to his pleas. Oliver is to leave after his dreadfully degrading birthday party where he realizes his entry into the dreamlike, fantastical life of Saltburn is slipping away. Oliver takes revenge for his rejection, murdering Felix in a rage. Felix’s murder starts a cascade of murders to destroy the entire family, leaving Oliver with Saltburn. Sure, there are other motivations at play (obsession, loneliness, desire, envy, competition) but I would still classify it as a revenge flick.
Kangol2
Saltburn is essentially a knockoff of The Talented Mr. Ripley and Brideshead Revisited crossed with Teorema, but nihilistic with retrograde politics. The “shocking” bits felt gratuitous, but I get that Fennell wants to shock, so ultimately I said, why not? At least the film had some very good acting (Pike, Grant, Keoghan in an impossible) part, great cinematography, and a nice soundtrack. The Madekwe character was a total waste, though, and I know Queerty loves Keoghan but he is not easy on the…well, I’ll be nice. As I said, he’s a talented actor.
bachy
As an art director, I’ve long been aware that certain models and actors look better on motion picture than they do in still picture. Keoghan is one of them. He’s much more appealing in film than he is in stills.
Kangol2
Great point, Bachy.
KyleMichelSullivan
I think Keoghan might be a good example of an actor looking better from one side as opposed to the other. Pictures of his right side suggest he’s okay-looking. Kind of lumpy and snarly. But in those of his left side, he comes across almost as boyish and cute.
I’ve never quite understood how that works, but I have seen how the camera has its own preferences. What it likes, it likes, and if you’re smart you don’t go against it. I’ve met actors who in person were bland or typical, but on film become magnetic…and vise-versa.
I think the most famous example of this is Claudette Colbert, who preferred being shot from her left. The going joke about her was, the right side of her face was like the dark side of the moon….never seen.
Wheelerman
I enjoyed the movie. There.
tommyboy5023
I did too. It was a good movie about obsession. The obsession shifted during the movie, but the Cattons kept freely spilling each others weaknesses. I thought the grave humping was well done.
cuteguy
Spoiler ahead….
Anyone else notice that if Jacob’s character didn’t ask Barry’s character to leave after he was exposed it wouldn’t have started his killing spree?
Donston
I don’t think it was a bad movie. But it’s saying the same basic things about the elitist rich and about repressed queerness that we’ve seen tons of times. The gratuitous violence and sex doesn’t make it more “edgy” or better. Had it actually explored traumas, queer insecurities, obsession with someone who’d never love you back, frustration with the gender, sexual, affection, romantic, emotion, spectrum- it could have been pretty good. Instead, it mostly used that stuff as a launching point to “shock” factor and “smart” dialogue. I also agree that the actors hardly looked the age they’re supposed be portraying. I definitely don’t regret watching it though.
cosmostephen
It worked for me. I was invested in every moment.