50 Shades of Grey review

                The mass success of “Fifty Shades of Grey” has fascinating cultural implications. Within the drug-store literary world there’s always been a healthy market for filth geared towards women , but now that it’s been visually realized as the first feature of what is going to be a very successful film-franchise, the private fantasies of many would-be wholesome Americans are exposing themselves in a very public way. It’s just a shame that a film as dull and thick-headed as this is what’s introducing suburban soccer-mom’s to the world of kinky and transgressive cinema.

                Based on a series of dirty books that author E.L. James adapted from her online, “Twilight” fan-fiction, this film follows the early stages in the prickly romance between Anastasia Steele (Dakota Johnson) and Christian Grey (Jamie Dornan).  After Ana gets an opportunity to interview the billionaire executive, the two enter into a sordid love affair. With only a minimal flirtatious period, the virginal college grad gives herself up completely to the domineering yuppie. As Ana learns more about his secret desires for bondage and sadomasochism she does what she can to break through his icy exterior to establish something other than a physical connection, but due to Christian’s abusive past, he is unable to let himself be vulnerable.

                Despite some good lighting and distinguished cinematography, this movie doesn't have enough story or narrative stamina to maintain a natural rhythm. There are far too many repetitive scenes between Dornan and Johnson where the two argue about their fundamental incompatibilities as sexual and romantic partners. Tension only derives from fact that even when Ana tries to make her own healthy decisions to stay away from the situation, Grey continually follows her and draws her back into his emotional mess. Whatever it is that is supposed to be sexy about this kind of manipulation is completely lost on me.

                There’s also the unsavory wealth-worship and patriarchal fetishizing that underlines this couple’s unhealthy union. While Ana works part time at a hardware store to make ends meet, Grey has his name on just about everything he owns, including his building, his private helicopter and his office supplies.  When Ana asks what it is that she can have if she participates in his domination role-playing—keep in mind this is supposed to be her first sexual relationship—Grey responds with “you get me.” Of course, when this doesn't sound as appealing as he had hoped and she understandably bolts, he then buys her a new computer and a car to ensure her hesitant submission.  Yuck.

               Yes, there’s a lot of sex in this movie and though it’s all shot in careful angles, close-ups, and montages, the frankness of these scenes is somewhat refreshing to see in a wide-release mainstream film, given Hollywood’s current trend towards safe, neutered, and relatively inoffensive cinema. Nevertheless, the story's lack of compelling conflict, the borderline abusive nature of this central relationship and the movie’s backwards sexual-politics spoils whatever titillation is supposed to be had.

Grade: D-

Originally published in the Idaho State Journal/Feb-2015