After the reams of commentary EL James’ books have inspired ( and recent faith-based protests) this big screen adaptation still manages to be about people, and even a little bit sweet. It isn’t that campy, and yet we are supposed to laugh. Praise is due for how the notorious “Red Room of Pain” is introduced. But once she has agreed (on paper) to his advances, he takes a key from his pocket and shows you his playroom.
He won’t sleep in the same bed as a woman. He just gets a bit funny when it comes to intimacy. And who knows, maybe she actually kinda likes Christian Grey. She’s fully aware this scenario is ridiculous, but can’t seem to turn away from its lunacy. It’s all there in her face, which Taylor-Johnson frames in close-up. Reminiscent of only her mother Melanie Griffith’s best characteristics, Johnson’s Ana squeezes believability out of one of the more silly romantic entanglements in recent popular culture. But the real find in Sam Taylor-Johnson’s better-than-it-has-to-be adaptation of the risibly written and ludicrously popular softcore novel is Dakota Johnson. Grey is adequately played by Jamie Dornan, but he’s essentially a cipher for his thousand dollar watches, crisp ties and a fleet of Audis – his lesser mode of transport when he doesn’t feel like using the helicopter with the word “GREY” emblazoned on the side.
Fifty Shades of Grey - video review Guardian
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