The book-turned-film “Fifty Shades of Grey” falls short of a pornographic film yet aims to get to the bare grit of greed, lust and sexual behavior, in all its peek-a-boo flicking shame, and reveals a struggle to reach its climax.
Like many of the book’s readers, I was curious to see how an author would handle a premise as dark, evocative, and hyper-sexualized as the one pinned up in “Fifty Shades of Grey.”
I came into Christian Grey’s world, his playroom, and I walked away feeling as though he’d somehow entered mine. I was filled with shame, outrage, and feelings of having been violated in a sense. But I couldn’t deny myself the excitement that overwhelmed in the days leading up to the film’s theatrical release.
In judging the subject matter more closely for what it’s worth, I came away feeling as though I had to revisit the storyline that left me feeling rudely awakened. From the film’s opening scene, I felt a sense of skepticism seeing Christian (Jamie Dornan) putting on his signature tie and Anna (Dakota Johnson) tightening her ponytail. The gesture was made to look so clean and cut, yet it’s so overdone that I must note its intent to comment on the rigid lines between men and women. “Fifty Shades of Grey” is nothing short of a reimagining of the classic take on roles of gender and expectations. I applaud its progression, or transgressions depending on how you view it, into the depths of sexuality.
I thought the amount of skin on screen was rather minimal compared to what could have been. However, I noted how Anna’s wardrobe seemed to expand in its range from modest and plain to sexy and cute. Despite what some might think when a film such as “Fifty Shades of Grey” comes to theaters, it’s (surprisingly) less scandalous and more thoughtful. I credit the director Sam Taylor-Johnson’s sensibilities and authorship. The film takes on sensualities in a way that is respectable. I can honestly say that I had fun.
First, I grinned in the early moments of the film when Anna visited Grey Enterprise and assumed the role of a journalist. Much like the general audience, I couldn’t help but scoff at Anna’s awkwardness in part to the virginal qualities wrought in Johnson’s screen performance and the screenplay that evolved from the novel. I, as a viewer, had to feel for her in this tale of dominance versus submission.
Anna’s struggle is best captured in the contract negotiation scene. She sits to one end of the table and Christian sits at the other end. Even as his stubbornness persists, Anna takes command and owns her sensibilities. Although rigidly, I sensed that Johnson blossomed emotionally, not only in Dakota as actress but also in Anna as character.
However, Dornan plateaus in his role as Christian. I sensed that the struggle within his character was difficult to capture and then make sense of in a single 120-minute session, especially if you’ve not completed the other books in the trilogy.
I gather from reading there’s some inner torment brewing in Christian that is never, not even in the slightest bit, conveyed in his portrayal. I hate to draw comparisons to “Twilight,” but in terms of believability, he’s more vampire-like than Robert Pattinson’s Edward Cullen. Christian may not be a bloodsucker, but I can tell he’s thirsty. He is thirsty for something unthinkable. I would say “Twilight” is a worthwhile comparison to “Fifty Shades of Grey,” especially considering the scene where Edward saves Bella from being hit by a van and Christian saves Anna from being hit by a bicyclist.
Viewers are not able to relate to his character, and in turn, it’s more difficult to understand why Anna is seen struggling when he fails to express anything beyond the sense you get when he’s hungry. Much of Christian’s secrecy hurts the actor and inevitably emasculates the viewer’s trek to the climax of the film. I was not able to appreciate any greater meanings for the monster that lives within Christian. Although I had fun, the blank space the film leaves doesn’t satisfy my desire to understand Christian, his obsessions with sex or his inclinations to domestic violence.
“Fifty Shades of Grey” is now playing at a theater near you. The film is rated-R for strong sexual content including dialogue, some unusual behavior, graphic nudity and language.
