With pre-release hype of earth-shattering proportions, it comes as no surprise that “Fifty Shades of Grey” was underwhelming.
Released on Valentine’s Day weekend, everyone anticipated an exhilarating glimpse into the world of BDSM. Unfortunately for the popular book franchise, it’s unlikely anyone will leave the theater in good spirits. That is, unless, they know what to expect: a mediocre, undeveloped plot with inaccurate depictions of BDSM.
An adaptation of E.L. James’ best-selling novel, “Fifty Shades of Grey” is the story of Anastasia “Ana” Steele (Dakota Johnson, “Need for Speed”), a quiet, naïve English literature major and Christian Grey (Jamie Dornan, “Flying Home”), a smoldering, handsome entrepreneur in Seattle. As the young founder of a massively successful corporation, Grey pursues Ana, who is confused by his attraction to her. Yet, he succeeds in introducing her to a world of sexual dominance and submission. Before she can realize it, Ana becomes enraptured in the fantasy of BDSM, even as it paves the way for a twisted change of events.
Given the subject matter, it was confusing to discover that “Fifty Shades” could put someone to sleep. How in the world could this movie be this boring? Then again, considering the story’s lack of a quality plotline, especially in the redundant, 500-page mediocrity of a novel, this is hardly shocking. The screenwriter’s job must have been a nightmare, having to navigate around its lack of substance. That being said, Johnson and Dornan worked remarkably well with what they were given. The only positive element of this film — cinematically speaking — was its soundtrack and score.
Hump Day: spice up Valentine’s Day with domination, submission this year
Though “Fifty Shades” has become a nationwide obsession, people are embracing domestic abuse and childhood trauma packaged as a BDSM relationship in the movie.
Grey is depicted as an intense, mysterious man with a terrifying need for control and a painful past. Grey uses sex as his weapon, his dark attachment, to battle his troubling experiences. None of this should make him a desirable object of fantasy. The spineless behavior of Anastasia Steele only reinforces this idea. She unravels before him, becoming an unhealthy version of a “submissive” that reads more like a victim.
Despite an overwhelming frustration with this aspect of the franchise, the movie did contain some actual clarity. For example, Christian Grey gets one thing right after Ana asks him if he is a sadist: he corrects her, calling himself a “dominant.” Engaging in BDSM definitely does not constitute sadism. In fact, its practice is not all that uncommon. Unlike the film, it’s about the consensual control that is handed off between two partners. It’s not the movie’s image of pain, degradation, contracts and constant one-sided activity.
Another moment of clarity came with Ana’s overdue revelation. She finally develops a backbone and begins to come to grips with the dire reality of her situation. Her tortured, yet necessary decision to leave Grey concludes the film, the first time during which his disturbed nature is far from glorified.
As a holistic work, “Fifty Shades” is not romantic. It is not sexy. It is disturbing, and it is frustrating, ending up depiction of nonconsensual, violent relations. Yet, the issues that have emerged from its criticism truly need to be discussed. This movie is not the first form of media to romanticize abuse and trauma. Perhaps the massive hype of the franchise will lead to the conversation many are too afraid to begin. But ultimately, a movie with inappropriate glorification and an absence of a comprehensive plotline does not bring anything cinematically substantive to the table. Safe to say, “Fifty Shades of Grey” just couldn’t pull it off.
Rating: 1.7 out of 5
