We do know that Taylor-Johnson and James didn't get along.
Were these touches intentional? It's impossible to know. Grey mentions "African charity work," possibly alerting us to the idea that Africa is one giant super-country now. Street parking is relatively easy to find, a possible sign that cars have gone extinct, too. Ana uses a flip phone, and at one point, she's given a new computer but not a new phone, perhaps signaling that smartphones have gone extinct. There are other signs Steele and Grey are living in a dystopian future. Humanity seems foreign to Dornan's Christian, which makes sense for a character who could be completely empty. There is so much negotiation.Īll jokes aside, this alien quality is what makes Dornan so effective as Christian. The enduring power of this document is what the movie wraps itself around. He seems bound to our world by a magic document called "the contract." Like the sea witch in The Little Mermaid, his document needs Ana's signature, and until it's signed it binds Grey, forbidding him to inflict harm upon others in pursuit of pleasure for himself. Grey also has the ability to text and drive at the same time without causing accidents on human roadways.Ĭhristian having a paranormal nature would also explain why he has "singular" tastes.
#FIFTY SHADES OF GREY MOVIE COVER FULL#
Everyone knows you sit in the back when being driven by your manservant.įurther, Christian doesn't seem to eat a full meal in the film, though there are two semi-important dining scenes, and there is one scene where he is able to communicate with Ana while she sleeps, just by talking out loud in the same room. For starters, he rides shotgun with his manservant Taylor. It's not readily clear that Christian even knows what a door is.Ĭhristian offers telltale signs that he typically lives in shadows. He is not seen or heard entering houses, hardware stores, and hotels through conventional means like doors. There are multiple scenes in which Grey manifests himself out of nowhere. Though Christian has an extended family, and though he is seen driving cars and doing things normal humans do, it all just appears to be an elaborate cover, as he is really a glamorous, shadowy specter who exists beyond our comprehension. Dornan spends much of the movie furiously knitting his brow and glaring with his cold eyes, while Johnson comically fluffs up the pensive scenes Dornan tries to ground. The two actors often feel like they're stuck in different films. Jamie Dornan plays the strange billionaire/creature known as Christian Grey. Johnson's comedy is further enhanced by her paramour. But Johnson gives Ana gory bits of humanity in a deeply funny, amusingly awkward performance that recalls, of all people, Michael Cera in Superbad. Ana was originally that series' terminally bland protagonist, Bella. In the books' nascent stages, they were Twilight fan fiction.
One thing's clear, though: her deadpan delivery of lines like "Are you going to make love to me now?" or "What is a butt plug?" is hilarious. It's unclear whether Steele is aware of her weather-manipulating properties in the same way it is unclear to what degree Johnson is willfully satirizing and subverting the story. And when she's sexually aroused, the sky blesses her with a gentle drizzle. When she's happy, the Seattle clouds separate and golden hues drape the city. Throughout the film, the weather reflects Ana's mood. On the night she's supposed to "go out," for instance, she wears a T-shirt.īut she also, apparently, has superpowers. Physically, we're meant to see this weather witch is awkward because she sports a set of unbecoming bangs and has a penchant for dressing in a fashion that seems to be openly combative to the occasion. Our heroine, Anastasia Steele, is played by Dakota Johnson as mumbly and mousy. What began as a tale of a young woman falling in love with an older gentleman with kinky tastes has morphed and twisted in the hands of director Sam Taylor-Johnson into a story that involves a young, weather-manipulating woman who falls in love with a teleporting incubus whose greatest weakness is the banal pleasure of contract law. The first Fifty Shades movie is a surprisingly hilarious piece of cinema that's equal parts sci-fi and romantic comedy. It comes as a surprise, then, that the filmmakers went in a completely opposite direction.
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