Fifty Shades of Grey
Let’s discuss Christian Grey for a minute. In archetypal terms, Christian is a paragon. He is a Titan of business. He helps poverty-stricken nations with his millions. He plays the piano. He’s a pilot. He’s capable of making women quiver with pleasure. And by the way, he’s smoking hot. Note to women: this is not a guy who exists anywhere in the real world. He is a fantasy man in every sense of the word. He is also a broken individual. Neglected, and abused, as a child, his ideas on love and affection are flawed, and result in him keeping women at a distance. He is controlling both in, and out, of the bedroom: there are many times during the film, “Fifty Shades of Grey,” when it is clear he is tracking Anastasia Steele somehow; he buys her outrageous gifts, and even though he does engage in some “romantic” behavior, he has non-disclosure agreements and contracts for her when it comes to their relationship. This isn’t absurdity like the socially-awkward Sheldon Cooper (from “The Big Bang Theory”) and his various “agreements”– this is dominating behavior that leaves emotions at the door. This is a man who wants control, not love, and when Anastasia “misbehaves,” needs to punish her. Not wants; needs.
I haven’t read EL James’s publishing phenomenon for myself, but enough analysis, including quotes from the book, exists online to peg Christian Grey as a class-five abusive personality. That makes screenwriter Kelly Marcel and director Sam Taylor-Johnson early frontrunners for next year’s Adapted Screenplay and Directing Oscars, then, because they sand A LOT of those rough edges off of Christian for the film to make him less creepy, and simply a fractured person psychologically, who needs to be in therapy rather than prison. There are still a few too many red flags, though, to really expect that any woman could change him on her own, as Anastasia wants to in this film. Girl, that man needs to initiate change for himself; otherwise, it’s not going to stick, and you’re in for a rough ride. Stay away.
It is important, I think, that women are doing the writing and directing duties on this film, especially since the book was written from Anastasia’s point-of-view. We’ve seen plenty of movies like this made by men (usually Adrian Lyne), so it’s refreshing to see women bringing a film like this together. That doesn’t mean it’s better than the likes of “9 1/2 Weeks,” “Basic Instinct,” or “Belle de Jour,” mind you, just that we get a different perspective on the material. We do get a sense of experiencing this film from Anastasia’s vantage point, even if it isn’t explicitly spoken (thankfully, we don’t get the sort of voiceover that can seem like overkill, such as in 1992’s “The Lover”), and while some men have proven themselves more than adept at giving us female-driven stories, we don’t really get something like this film from a woman’s POV, and Marcel, Taylor-Johnson, an star Dakota Johnson (as Anastasia) do a fine job at that.
I won’t really get into the story much, because all of the key points you need to know are outlined in the opening paragraph. I will say Anastasia is a college student, who is asked by her journalism-studying roommate to fill in for her on an interview with Mr. Grey. (Anastasia isn’t a journalism major herself, which begs the first of many questions the story ignores.) Christian and Ana make an immediate connection, and things progress from there. Anastasia is a virgin (of course), but honestly, that’s less unbelievable than her using a flip phone (in 2015? or 2011, when the book was published?) or not having a working computer (and how is she doing her school work for graduation again?), although some have made the point that maybe she didn’t need to be the stereotypical “virgin” for this story to really work. That’s not what interests Christian about her, though– honestly, we never really find that out, and Jamie Dornan’s flat performance as Christian Grey leaves us asking what draws Anastasia to him. (Oh yeah, his “paragon” status outlined in the first paragraph.) That being said, though, Dakota Johnson does a very good job with a very difficult-to-play role; she’s unafraid to go certain places when the story requires it, and she finds some warmth and humor in the role that makes it easier to watch her develop as the story progresses.
So, how about that sex, eh? Let’s be honest– that’s the main reason most people are curious about this movie, right? First of all, let’s look at the question of whether anything Christian does to Anastasia in the film is abusive, as many people who have read the books (or read about them) claimed. In the movie, there are two sexually-charged moments where Christian acts in a manner that can be considered an abuser: one, when he has broken into Anastasia’s apartment, and he convinces her to try some things; two, when his “need” to punish her for a transgression is seen manifest itself. An important point in both instances is that Ana DOES offer consent, in the first example because even though she has told him, via email, she isn’t interested in agreeing to his contract, she’s hoping to get him into a more traditional relationship, and in the second example, because she feels a need to see for herself how dark he can get. Now, at a time when “rape culture,” sexual assaults, and domestic violence is a major topic, I wouldn’t blame you for calling these examples of “consent” out as victim-blaming, because as I write these out, it sounds exactly like that, but in the context of the film, these instances work from a storytelling standpoint. As Roger Ebert said, it’s not what a movie is about, but how it is about it, and Taylor-Johnson and Marcel’s job is to adapt James’s story for the screen, not change it for the purpose of what would be acceptable for those of us concerned about the epidemic failure of society (and law enforcement) to call out, and punish, those who would rather blame the victim rather than the perpetrator of the crime. The fact that “Fifty Shades of Grey” offers a way into that discussion at all is a sign of it’s worth as a talking point, even if, as art, it leaves much to be desired. That last sentiment can actually be said for the film’s sexual content, which, while definitely going further than most major studio productions go, isn’t quite as shocking (or titillating) as the filmmakers probably hoped. The scenes have a charge to them, no doubt (if only because few people have really shown bondage like this in mainstream cinema), but hardly set a new standard if you’ve seen the likes of “Basic Instinct” or “9 1/2 Weeks” or “The Lover” before watching “Fifty Shades of Grey.”
As someone who’s read a lot about this story, and movie, before actually seeing it myself, I have to say that as a movie fan, I was entertained. As an erotically-charged drama, it’s on par with most, and better written and directed than your average Skinimax or Shannon Tweed movie from the ’90s. (Not that I watched a lot of those, mind you, but you know the type.) But as a movie buff, one hopes for a greater embrace of the campy melodrama that James’s story practically begs for, especially when Christian yells, at one of the most “dramatic” times in the film, “I’m fifty shades of fucked up.” (Yes, that IS a line spoken in the film, and it practically made the movie worthwhile alone.) Dakota Johnson, the progeny of Melanie Griffith and Don Johnson, should be able to build a sustainable career off of the way she actually makes us care about Anastasia, and make her feel like a three-dimensional character, while Jamie Dornan, though not faring as well (in a very one-note character, to be fair) as his co-star, should definitely see a spike in his fan base as Christian. And the soundtrack, with a sultry, old-fashioned tone matched by Danny Elfman’s score, is a fine example of how music can enhance the mood of a film, and take it to heights only hinted at on-screen. (Anything other than Beyonce tracks behind a couple of those sex scenes, and they just wouldn’t have the same sensual impact.) The story ends where it needs to in order for the next two books to pick up and run with the characters, but whether we want to follow is up for the viewer. I’m mildly curious, but I can’t imagine the result will be worth much effort on my part. With Marcel and Taylor-Johnson telling the story, though, I wouldn’t have to require much persuasion to continue on, though.
