Mounting the final climax.
“Fifty Shades Freed” could be adjudged a study in disparities artistically unified to not only reflect the many psychological tinctures of sexual overtures but to chart new dimensions in the future of relations and sexuality.
You’d love the power statements oozing from one scene to another as car chases melt with being tracked down in the midst of sexual escapades and luxurious vacations. Jack Hyde is on a revenge mission. He is an erstwhile boss of Ana. He is sacked for sexually harassing Ana. He’d do anything to keep the new couple sorrowing. If he is not abducting a member of their family now, he is certainly sneaking into Ana’s big home with the hope of attacking her. Jack’s role gives the movie an upbeat action tint. Woven with this is Christian’s revelation that he is not ready to father a child. His fear? His children would damage the romance between him and Ana, his wife. How does a man become so green-eyed to the point of deciding against having children?
But Ana experiences accidental pregnancy and breaks it to Christian who does not take it lightly. Ana would love to have control over her life. She’d love to have dinner with her friends outside her home. She would not love to have the bodyguards around but she has no choice as each time she exhibits her freedom tendencies, she runs into trouble with Christian. The last time she is out with one of her friends, Christian punishes her. He takes her into the Red room and gives her sex-laced mild pain to which she remarks, “Christian, this is not love. It’s revenge.” But that is one of the ways Christian believes he is loving her. And truly he loves her. “I wanted to give you the world,” he says.
The relationship between the new couple is more of dominance tussle than it is cooperation and collaboration expected in a family setting. Christian Grey’s wealth hands him the control he desires over his wife’s life. This means she is expected to contribute nothing where finance is concerned. Christian expects her to stay at home as a full time house wife but she says she would run mad if she has to do that. She keeps her job but it still doesn’t give her the power she really needs: who controls your spending, controls your life.
The sexual scenes also exude some level of dominance, especially with the style of sex that the couple employs. Their BDSM (bondage, discipline, dominance and submission, sadomasochism) sexual relationship does not give Ana the breathing space to be who she loves to be. Christian takes undue advantage of this kind of relationship to analyse their lives through sex. Not everything in a salubrious relationship should be viewed through the lens of sex. The Red Room, their play is a symbol of disillusionment, power, dependence, independence and sexual sovereignty.
Dakota Johnson shows us the exciting dimensions of Ana’s life as her acting compliments Jamie Dornan’s stern responses on set. She has been described as the MVP of “Fifty Shades.” Her monologues while almost completely naked and her innuendos during conversations with Christian would make you wonder how she seamlessly moves through the scenes without taking herself too seriously.
“Fifty Shades Freed” is made available for the screen by Niall Leonard, the husband of the novelist E.L James whose novel (of the same name) was a NewYork bestseller. The movie version is directed by James Foley.
Written by Omidire Idowu.
Omidire Idowu Joshua is a movie enthusiast, a creative writer and editor. Writing makes him sing and dance. Reach him via firstname.lastname@example.org