Fifty Shades of Grey
Fifty Shades of Grey
Fifty Shades of Grey
Regie:
Sam Taylor-JohnsonDrehbuch:
Kelly MarcelKamera:
Seamus McGarveyMusik:
Danny ElfmanBesetzung:
Dakota Johnson, Jamie Dornan, Jennifer Ehle, Eloise Mumford, Victor Rasuk, Luke Grimes, Marcia Gay Harden, Rita Ora, Max Martini, Callum Keith Rennie (mehr)Streaming (7)
Inhalte(1)
Die Romantrilogie von E.L. James stürmte die Bestsellerlisten und erwies sich sofort als weltweites Phänomen. Insgesamt sind bislang über 90 Millionen Exemplare verkauft und in 52 Sprachen übersetzt worden. Jetzt erobert eine der rasantesten Erfolgsgeschichten der Literatur die Kinos: Bei einem Interview trifft die Studentin Anastasia Steele („The Social Network") auf den 27-jährigen Milliardär Christian Grey. Trotz seines arroganten und anzüglichen Auftretens kann sie sich seiner geheimen Faszination nicht entziehen – und wird in einen Bann gezogen, der ihr eine ungeahnte Welt eröffnet. (Universal Pictures Germany)
(mehr)Kritiken (16)
Ein Film, der 5 Minuten vor dem Nachspann beginnt. Mit einer Szene, die in ihm als einzige irgendwelche Emotionen hervorruft. Der Rest ist zu flach und gleicht zu sehr einem Liebesroman. Er hat nichts, womit er die Aufmerksamkeit der Zuschauer*innen fesseln könnte. Man kann mit den Figuren keine Gefühle teilen und hat auch kein Interesse daran, die Entwicklung ihrer "Beziehung“ zu beobachten. Dakota Johnson spielt OK und natürlich. Jamie Dornan ist nicht natürlich und spielt wie Affleck in Armageddon - Das jüngste Gericht. Seine komplizierte Figur mit verhülltem Charakter sollte aber der Kern des Films sein, ähnlich wie es die Figur von Sharon Stone im Film Basic Instinct war. Ich hoffe wenigstens, dass die Buchvorlage auf der Psychologie baut und nicht auf dem Fliegen mit dem Helikopter und geschenkten Autos. Die Szene, in der sich die Figuren über den Vertrag unterhalten, ist der einzige kreative Regie-Beitrag in dieser grau-grauen Leere. Aber für den Film als Ganzes ist sie ziemlich unbedeutend. Die charakteristischste Szene ist hier das Klavierspielen nach der Entjungferung… Ich persönlich freute mich über die Antwort "Mich“ auf die Frage "Und was hätte ich von alldem?“. Weil ich ungeduldig bin und auf diese Frage nie eine Antwort gefunden habe. Ich habe lieber eine andere Kandidatin gesucht, die sich auskennt.
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”What are butt plugs?” I haven't read the book and I don’t know what the sequel is about, nor am I an expert on female sexuality. Therefore, please take this review only as the comments of a lay observer who would, however, give this film a two-star rating regardless of what he has or has not learned from it. ___ Fifty Shades of Grey exposes the rules of traditional romantic dramas and pushes them to the extreme with an anticlimactic story of the awakening of a naïve romantic who discovers, in addition to her own identity, the male-dominated world of market capitalism (“Welcome to my world”). With his cold-blooded business approach and acquisitiveness, Grey is the perfect prototype of a man as capitalist, convinced of his own superiority. He understands relationships as business transactions, prior to which it is necessary to negotiate the most favourable conditions (“I don’t do romance”). He buys and Ana sells, both literally and figuratively. He showers a woman with expensive gifts and “fucks her hard”, in exchange for which she humbly submits to him. He manages to convince her that freedom is gained through giving up responsibility. If a woman does not respect his rules, she will be punished. At the same time, the scenes with his domineering mother and memories of his relationship with his partner, who has subjugated him, indicate that Grey’s need for eroticised domination stems from his fear of women or rather loss of control over what makes him a man according to the current social order. ___ In her inexperience, Ana guilelessly accepts the rules of a world in which male pleasure takes priority over all else, in which a feeling of humiliation is determinative for the woman, in which the man is active (not only in sex) and the woman is passive. She does not know any other rules and for the purposes of the wonderfully straightforward narrative with black-and-white characters, it is not even desirable that she would know them. For Ana, the opportunity to submit to a man is a privilege for which she rewards the man in question by preparing breakfast (the way in which Ana takes on her role as a homemaker, as if it’s a matter of course, can also be perceived as the fulfilment of a male fantasy). It is only gradually, as she goes down the S&M rabbit hole, that she discovers who she really is (through sexuality, among other things) and begins to understand that being a woman does not mean being a tool for others, sharing everything (including a sandwich prepared for dinner) and becoming invisible. She slowly brings her own rules into Grey’s world along with her own ways of getting pleasure (“It's you that’s changing me”). ___ Despite that, the relationship remains unfulfilled according to the principles of melodrama. Peculiarly, the reason that he and she do not end up happily in each other’s arms is the knowledge of what the man really desires and what it means to be a woman. Fulfilling Grey’s fantasies – and thus playing the role that he requires from her – does not give Ana satisfaction. I would therefore like to believe that the blandness of the relatively tame and too brief erotic scenes (with music that kills any excitement) was the filmmaker’s intention. The film is at its sexiest when the characters only talk about sex and the story remains in the realm of the unrealised fantasies of the female protagonist, who thus controls the narrative and has the man under her power for at least a moment (the conversation over the contract). Conversely, Ana loses all of her power during the erotic games played out according to Grey’s fantasies. From a certain perspective, the empty-seeming ending and the lack of physical eroticism (in terms of both duration and explicitness) are not a mistake, but an attempt to undermine the androcentric vision and understanding of the world as it is represented by dozens of other romantic films about invisible women and dominant men (to go even further beyond the limits of valid interpretation, the discontinuity of the editing and the jumps during the scene involving Ana’s first sexual encounter could also be read as an expression of her personal “paradigmatic break”). 50%
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I can’t shake the feeling that marketing-wise, this is the most lucrative slushy romance I’ve ever seen. And I only watched it because I expected some sort of a breakthrough in the world cinematography. But nothing happened except for one strange relationship that doesn’t really show us anything; just a bit of whipping and one very modest torture chamber. Dorian Gray might be a psycho, but he still acts rationally and so nothing truly bad happens to Dakota. The ending was weak because I know that Dakota’s dominance won’t last very long.
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When I stumble upon something every few years every time I enter a bookstore, sooner or later it starts to haunt me. Best of all in the form of a predictable romance, which transforms into something paradoxically embarrassing in approximately the third act. Paradoxical for the reason that anyone who has ever even marginally experimented with intimate play probably covers more in an evening than the entire contract of Mr. Grey contains. And embarrassing purely because the main heroine is the impossible Ana played by the equally impossible Dakota Johnson. On the other hand, Jamie Dornan, no matter how unplayable his role is, can recite all the madness that has been crammed into the script from the original with a fierce expression and surprising dignity. It just saddens me how much hype is and will be surrounding such a fatally unnecessary spectacle. If there really was only that Xbox lying in Christian's playroom, we would all be much better off.
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Music good, cinematography awkward, equally awkward performance by Jamie Dornan. Dakota was still okay, but nothing great under the sun. The beginning was really a mouthful, I thought I wouldn't be able to finish it, but I endured simply because of masochism. An erotic film that tries to have some psychological overtones, but that gets pretty lost in the superficial beginning and middle (god I was getting hysterical fits of laughter at some of the dialogue and "thrills"). Basically, it only starts to get interesting at the end, when Ana realizes that she's not very happy, she starts to have her doubts about the whole sex trip. Despite all the stupid lines, and a couple of fairly well played verbal exchanges, it wasn't the horrible movie I thought it would be in the end.
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So I watched it and surprising I don’t have the urge to trash this modern romance. In the end, this dumb (not as cute as in the Transformers) and senseless story comes to some conclusion. Quite surprising, if you didn’t watch the spoilers. It doesn’t even completely slip into an outright American Pie. In terms of actors, this a terrible bunch of unlikeable people, the only one who is sort of nice is (that pathologically disturbed) Mr. Grey. My girlfriend fell asleep after the first kiss and I dropped of when I thought that it must already be the end (about 10 minutes before it really ended). I finished watching on Labor Day. Everything taken care of now. P.S.: Elfman’s music was very pleasant.
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Ein populäres Filmchen, das als Illustration für ein populäres Büchlein dient. Ich bin gespannt, ob er in einigen Jahren so berühmt sein wird wie 9 1/2 Wochen oder Basic Instinct. Aber der ganze Trend wird wohl eher in Vergessenheit geraten.
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Pretty Woman 2. Over time, everyone waves their hand over it as shallow and often predictable when it captures the current times so accurately, with a hint of irresistible glamour. But now it's trendy to complain about how uninteresting the erotica is and how bland the acting is, while these are rather unjustified jabs in the style of "the crowd says it's crap, so I say it too". We will see what reflection society will have apart from traditional Bond films in 2035, but by then Fifty Shades of Grey will definitely be close to being in the red numbers, if FilmBooster and the internet as we know it today still exist at all.
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Ich hatte keine Vorurteile und dachte, dass es doch nicht so schlimm sein kann, wie man sagt. Der Film ist aber wirklich schlimm. Zwei langweilige Stunden, in denen man sich um ein Thema dreht, das mir absolut nichts sagt und nach dem Anschauen des Films auch nichts sagen wird. Dazu ein ziemlich unsympathischer Darsteller in der Hauptrolle und seine auf den ersten Blick zwar schöne, aber extrem fade Partnerin. Andererseits verstehe ich aber auch, dass Fifty Shades of Grey sein Publikum gefunden hat und weiterhin finden wird, weil sich wahrscheinlich viele Menschen nach solchen Abenteuern sehnen. Also bitte, in diesem Spielzimmer werde ich Sie nicht stören.
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A film with no plot, no emotion, and no attempt to evoke sympathy for characters that are never plunged into their controversial intimate relationship deeper than the writing of a superficial sexual contract, and only fool around a few times in a cool luxury mansion without any hint of an erotic atmosphere. This should have been given to Stanley Kubrick, whose Eyes Wide Shut, with its creative work with mise-en-scène and precise direction of the "horny" actors, kicks this pointless bullshit right in the ass. A pointless film without a single memorable scene or creative visual idea that would at least somehow spice up and highlight the routine action on the screen. Two stars solely for Dakota, whose acting is believable, and for two nicely done erotic scenes, which, if nothing else, at least aptly characterised the entire formal level of the film: something between an attempted artistic look at NOTHING and a superficial presentation of SOMETHING, which is only marginally glimpsed and will catch on at most as a useful tool for students at a film high school. 40%
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Es ist besser als sein Ruf (und definitiv besser als das Buch), aber es ist nicht gut genug, um es sich lohnt. Dennoch werden wir sicherlich zwei weitere Teile sehen, denn es verdient unglaublich viel Geld. Eine ausführlichere Rezension findest du HIER.
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Die Kommentare zu diesem Streifen sind auf beiden Seiten recht zugespitzt, und die Bewertungen schwanken auch unter beliebten Usern, also werde ich mich in keine tiefgründigen Polemiken stürzen. Ich bin vor allem über den Erfolg des Buches erstaunt, ich verstehe das nicht, aber ich weiß, dass ich nicht zur Zielgruppe gehöre. Der Film gefiel mir paradoxerweise mehr, und das ist in meinem Fall eine absolute Ausnahme. Er entzog sich nämlich logischerweise dem, was mich im Buch am meisten irritiert hatte, und orientierte sich auf das Wesentliche und visuell am meisten Faszinierende. Das zentrale Duo könnte ich mir völlig anders besetzt vorstellen, doch auch so denke ich, dass beide zueinander passen - doch ich merke an, dass Gosling in der Rolle des Grey perfekt wäre und er den Film möglicherweise noch in andere künstlerische Höhen gehoben hätte. Der Schluss ist für mich eindeutig - ich werde mir irgendwann nur beide Fortsetzungen des Films anschauen, tolle Bücher erwarten mich in meiner Bibliothek noch viele.
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A film obviously made for small-town American housewives, ideally from religious families. I’m not sure who else would be surprised by terms like bondage or spanking, and I certainly don't think there’s anyone who needs to be whipped in order to realize that it hurts. Since the film is clearly aimed primarily at women, I did a quick survey among the women I know, which resulted in two distinct groups. The first one includes women who share my opinion, the second one are those who would give it a 5 because Jamie Dornan was in it. Sad, but that’s the way it is.
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This is really something terrible. Such unbelievably dull characters, such a stupid story that thinks it's shocking, but in reality never really goes to extremes. For me, this is simply wretchedness that plays on the emotions and desires of viewers/readers, and unfortunately, it works. Great from a marketing standpoint, terrible as a film work.
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I waited a few years before I decided to see Fifty Shades of Grey, and I can't help but mention that I absolutely do not understand the general criticism that accompanies the film. It's not anything groundbreaking, but I wouldn't say I'm collapsing from how stupid it is, definitely not. In addition, I have absolutely no complaints about the music, the soundtrack is really good. Otherwise, it is basically a romantic story underlined by rather tasteful eroticism dealing with a love relationship that is doomed to an early demise. I admit that Jamie Dornan was a big attraction for me, mainly because of his great performance in the series The Fall. Here, I'm not disappointed with his portrayal of Christian Grey, he's even typecast for the role, but he's just not my favorite serial killer. (65%)
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Perfectly managed advertising campaign. I feel sorry for all the people who went to see this, be it voluntarily or involuntarily. The movie is categorized as drama and romance, but it’s neither. In fact, I have absolutely no idea where to place this cinematic diarrhea. It's not dramatic enough for a drama. Romance can be found maybe in the first 15 minutes, but first I would have to undergo a full-frontal lobotomy to make it through the dialogues which are as intriguing as the Malaysia Airlines MH370 aircraft’s landing is smooth. Alright, a comedy? Maybe a few people had some good laughs, even if only ironically, but I sure didn't. Damn, there must be a genre for this. Erotica? For those few minutes? No. Soap opera? I guess this genre is the most fitting due to all those relationship dilemmas like: ‘I want him, he wants me, I have to change for him, he has to change for me, I don't want to change, he won't change, but I love him and he loves me, but we see everything so differently and....’ what? Jesus, what is this all about? No emotion, thrill, fun, suspense, excitement, Fifty Shades of Grey just fades away into nothing.
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