Director: James Foley
Producers: Michael De Luca, E L James, Dana Brunetti
Based on the novel by: E L James
Screenplay by: Niall Leonard
Soundtrack score: Danny Elfman
Starring: Dakota Johnson, Jamie Dornan, Kim Basinger, Marcia Gay Harden, Eric Johnson, Bella Heathcote, Rita Ora
The second film in the Fifty Shades series, based on the novel Fifty Shades Darker by E L James, is lame, tame and generally depressing, especially when compared with Fifty Shades of Grey, which had some lighter moments associated with the excitement of first love.
The second film was like watching a Mills & Boon telemovie with a wanna-be feisty heroine, brooding hero, and situations where the characters are forced to admit How Much They Mean to Each Other, set amidst a backdrop of obscene wealth (why are the heroes never accountants?).
Originally an e-novel loosely inspired by the Twilight saga, Fifty Shades of Grey ended with heroine Anastasia Steele (perky breasted Dakota Johnson) breaking up with gloomy yet ripped businessman Christian Grey (Jamie Dornan) because she couldn’t be the “submissive” he needed.
In Fifty Shades Darker she now claims “things are different”, deliberately teasing Christian and trying to seduce him in the Red Room, totally negating the strong stand she took earlier.
The Fifty Shades books and films have been criticised for glamorising domestic violence and abusive relationships. The books certainly depicted Christian as being oppressive, sexually deviant and overbearingly bossy, whereas the films portray him more as a once-victimised and still vulnerable person who has to be in control, and who probably just needs a good woman’s love to redeem him.
I don’t find the criticisms about emotional/physical abuse valid because Ana returns here of her own free will, makes conditions and often instigates the sexual interludes with Christian, who says that although he desires the kinky stuff, he needs her more. She seems compelled to test his resolve by deliberately encouraging him in sexual activities that are like awkwardly shot soft porn but curiously lack any arousing power, and which interrupt the actual story, such as it is.
Christian’s work life barely gets screen time (how does he make all that money?), while we’re supposed to believe Ana is a gifted business woman because she pitches one idea breathily at a board meeting to publish “new” writers instead of just established ones, which is received as though no-one had ever thought of it before.
Fifty Shades Darker has quality production values, beautiful cinematography (by John Schwartzman) of mountains and rain-slicked city streets, and a bopping soundtrack. There are established actors in minor roles, including Christian’s adoptive mother (a dignified Marcia Gay Harden), and his former Dominant, Elena (a well preserved but wasted Kim Basinger), but other characters from the first film barely register.
A former Submissive (Bella Heathcote) stalks Ana and appears to pose a threat that is resolved too quickly. The villain here is Ana’s former boss Jack Hyde (Eric Johnson), who in one hilarious scene produces a printed photo of one he took earlier on his phone, just so he can evilly burn a hole through Christian’s face as a sign of future revenge in the third film.
Subtlety, credibility and entertainment are not hallmarks of this film, although there are some unintentional laughs. For sexual titillation watch the Sylvia Kristel version of Lady Chatterley’s Lover (1981), while for brooding romance you can’t beat Jane Eyre (Orson Welles version, 1943).