Emerald Fennell didn’t just make a movie; she built a trap. When Saltburn dropped on Prime Video, it didn't just trend. It polarized. People were either obsessed with the bathtub scene or physically recoiling from their screens. But if you peel back the layers of mid-2000s nostalgia and the high-contrast cinematography by Linus Sandgren, you find something much older. The social climber film is a genre as old as cinema itself, yet it keeps evolving because our collective anxiety about class never actually goes away. We love watching someone "wrong" enter a room where they don't belong. It’s uncomfortable. It’s thrilling.
Oliver Quick, played with a terrifyingly blank stare by Barry Keoghan, isn't just a nerd who wants friends. He is a predator in a cheap suit. That’s the core of the social climber film—the idea that the meritocracy is a lie and the only way "up" is through deception. You see it in The Talented Mr. Ripley. You see it in Parasite. We're fascinated by the impostor because, on some level, everyone feels like one.
Why We Can't Stop Watching the Social Climber Film
Most people think these movies are about greed. They aren't. Not really. They’re about the specific, agonizing itch of resentment.
Take Saltburn’s predecessor, The Talented Mr. Ripley. Tom Ripley doesn't just want Dickie Greenleaf’s money; he wants Dickie’s ease. He wants the way Dickie wears a linen shirt without looking like he’s trying. In the social climber film, the "climb" is often a search for an identity that wasn't assigned at birth. Honestly, it’s kinda heartbreaking until the murders start.
There’s a specific tension in watching a character navigate a dinner party where they don't know which fork to use. We’ve all been there. Maybe not at a British estate worth fifty million pounds, but we've all felt that "out of place" heat in our chests. Filmmakers like Fennell or Bong Joon-ho use that universal social anxiety as a weapon. They hook you with empathy and then turn the protagonist into a monster. It's a bait-and-switch that works every single time.
The Evolution of the "Infiltrator"
Back in the day, these stories were cautionary tales. Think Barry Lyndon. You climb too high, you fall. Simple. But modern audiences are different. We’re cynical. We live in an era of "fake it 'til you make it" and LinkedIn hustling.
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In 2019, Parasite changed the game. It showed that the social climber film doesn't need a single villain. The Kim family are scammers, sure, but the Park family’s "politeness" is its own kind of violence. It shifted the perspective from "look at this evil individual" to "look at this broken system." Saltburn takes this and adds a layer of erotic obsession. Oliver doesn't just want the Catton family’s wealth—he wants to consume them. Literally.
The Visual Grammar of Class Warfare
You can't talk about the social climber film without talking about the "Gaze."
How does the camera look at the rich? In Saltburn, the estate is shot like a Gothic cathedral. It’s beautiful but suffocating. The 1.33:1 aspect ratio makes everything feel cramped, despite the massive rooms. This is a deliberate choice. It mirrors Oliver’s own claustrophobia. He’s trapped by his own desire.
Contrast this with the way the working class is often depicted. In many of these films, the protagonist’s "real" life is shot in flat, ugly light. Dull greys. Handheld cameras. Then, they enter the world of the elite, and suddenly the screen is dripping in gold and velvet. The visual shift helps the audience understand why someone would kill to stay there. It makes the seduction tangible.
- The Costume Transition: Watch the clothes. In the beginning, Oliver’s clothes don't fit. By the end, he’s wearing a dinner jacket like he was born in it.
- The Mirror Motif: There are so many reflections in these movies. It’s a classic trope for a reason. The protagonist is always splitting themselves in two—the "real" them and the "performance."
- The Brutal Ending: Very few of these movies end happily. Even if the climber wins, they’re usually left alone in a big, empty house. It’s a hollow victory.
What Most People Get Wrong About Oliver Quick
I’ve seen a lot of takes online saying Oliver is just a "sociopath." That’s a bit of a cop-out.
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Labeling him as just "crazy" ignores the satirical point Fennell is making. The social climber film is often a critique of the upper class’s boredom. The Cattons aren't just victims; they’re bored aristocrats who treat Oliver like a shiny new toy. They invited the vampire in because they wanted to be entertained.
Elspeth, played by Rosamund Pike, is the perfect example of this. She’s "kind" because she’s never had to be anything else. Her kindness is a luxury. When Oliver realizes that their affection is conditional on him being "interesting" or "tragic," he decides to flip the script. He realizes that in their world, the only thing they respect more than heritage is sheer, ruthless power.
Real-World Parallel: The Anna Delvey Effect
We can't ignore that the social climber film is booming because of real-life scammers. Anna Delvey. Elizabeth Holmes. The "Grifter Era" is in full swing.
There’s a weird sort of respect we have for people who can lie their way into a room. It’s a perversion of the American Dream—or the British equivalent. We’re told that if we work hard, we can move up. But then we see people jumping the queue through sheer audacity, and a part of us (the dark, petty part) kind of cheers for them. Until things get messy.
The Recipe for a Perfect Social Climber Movie
If you're looking for what makes this genre work, it’s not just the wealth. It’s the specific ingredients that create that "cringe-watch" energy.
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- A "Mark": You need someone like Felix Catton. Someone who is effortlessly wealthy and fundamentally naive. Their biggest flaw is thinking everyone is as "chill" as they are.
- The Secret: There has to be a lie. A dead dad, a scholarship that doesn't exist, a fake name. This is the ticking clock of the movie.
- The Humiliation: There’s always a scene where the climber is almost caught. It’s the "fork" scene. In Saltburn, it’s the birthday party where Oliver’s two worlds collide.
- The Moral Vacuum: By the third act, the audience should be questioning who they’re actually rooting for. If the director does their job, you’ll feel gross for wanting the liar to succeed.
Why Saltburn Polarized Audiences
Honestly, a lot of the hate for Saltburn comes from people who expected a standard thriller. But it’s more of a dark satire. It’s "mean." It doesn't have a moral center because the world it’s depicting doesn't have one either.
The social climber film often struggles with this. If you make the climber too likable, the ending feels tragic. If you make them too evil, the movie feels nihilistic. Fennell went for the latter. She leaned into the grotesque. That dance at the end? It’s a victory lap that’s supposed to make you feel slightly sick. It’s the ultimate "f*** you" to the idea that the upper class is untouchable.
Other Must-Watch Examples
If Saltburn left you wanting more of that "eat the rich" energy, there are a few deep cuts you should check out.
- The Servant (1963): A masterclass in power dynamics where a valet slowly takes over his employer's life.
- Purple Noon (1960): The original French adaptation of The Talented Mr. Ripley. It’s sun-drenched and gorgeous.
- The Handmaiden: A Korean masterpiece that blends social climbing with a massive heist and a love story. It’s complicated and perfect.
The Lasting Impact of the Genre
We're going to see a lot more movies like this. Why? Because the wealth gap isn't getting any smaller. As long as there are people with "old money" and people with "no money," the social climber film will remain the most relevant horror subgenre we have.
It taps into our deepest insecurities. It asks us: How far would you go? Would you lie about your parents? Would you manipulate a grieving family? Most of us say no. But we’ll pay twelve dollars to watch someone else do it for two hours.
Actionable Insights for Fans and Aspiring Writers
- Analyze the Power Shifts: When watching a social climber film, look for the moment the "climber" stops reacting and starts acting. This is usually the midpoint of the film and defines the character's arc.
- Study the Setting: Notice how the house or environment is treated as a character. In these films, the architecture often represents the barriers to entry (gates, long hallways, locked doors).
- Look for the "Tells": Pay attention to the small mistakes the protagonist makes. These "tells" are often what build the most tension for the audience, creating a sense of "second-hand embarrassment" that is a hallmark of the genre.
- Evaluate the Satire: Determine if the film is critiquing the climber, the elite, or both. Understanding the target of the satire helps in appreciating the nuanced social commentary being made.
To truly understand the impact of these stories, compare Saltburn with classic literature like Great Expectations. You'll find that while the clothes and the music change, the fundamental human desire to be "more" than what we are is a constant that continues to drive some of our most provocative cinema.