Fifty Shades of Grey – Review

Everyone has an opinion about 50 Shades of Grey. Those who have read it, tend to hate it. Those who haven’t, tend to hate it even more. Yet the feature film adaptation of E.L. James’ immensely successful novel is one of the most talked about films of the past few years. But it’s worth noting that the majority of criticisms which were aimed in the direction of this tale, regard the distinctly low quality of the writing; being a novel that you’re sure to have heard described as ‘trashy’. But the film’s narrative is a somewhat more traditional, romantic tale – so if director Sam Taylor-Johnson can extract that from the page, and use it to build a film around, it could turn out to be quite good, right?

Dakota Johnson plays Anastasia Steele, a student who works part-time at a hardware store, who finds herself covering for a sick friend, and interviewing the affluent businessman (and bachelor) Christian Grey (Jamie Dornan). He instantly takes a liking to the endearingly clumsy student, sending her gifts and surprising her at work. As the pair start dating, it soon becomes apparent that the dating game is not what this stubborn billionaire is particularly fond of, as he confesses to his rather unconventional sexual desires – coercing this youngster into a world of submission.

As Christian himself would say, the only way to enjoy this feature, is to go in with an open mind, and try not to let pre-established apprehensions get in the way. If you do, you may well find yourself enjoying this picture, which revels in the traditional romantic story of the underdog, drawing parallels to the likes of Pretty Woman, or even Cinderella, in that regard; though let’s just say any similarities to the Disney classic end abruptly there. The feature does grow tedious too, and repetitive, as you question the need for it to step over the two hour mark, given they meet in the opening scene, and from thereon it’s a monotonous formula, whereby Ana ponders over this entire arrangement and whether she wants to be involved, then they have sex. Then she ponders again, and then they have more sex. Then she ponders, and so on. It’s imperative we see the story through her eyes though, as we embody the vulnerable, innocent character, following her journey into the unknown: scared and apprehensive. Though it’s interesting how the perspective switches over to the male gaze the second the sex scenes begin, eh?

Johnson illuminates the screen and is certainly the stand out performer, but in Dornan’s defence, he isn’t given the platform to explore his character’s deep-rooted psychological damage. It’s one of the film’s most intriguing elements – why is he into this unorthodox sexual pleasure? What is it about mistreating women that turns him on? Sadly these questions are left unanswered, though that pretty much opens up the door for a sequel, where all will be revealed. And the surprising thing is, we’re sort of looking forward to finding out.