Réalisation:
Sam Taylor-JohnsonScénario:
Kelly MarcelPhotographie:
Seamus McGarveyMusique:
Danny ElfmanActeurs·trices:
Dakota Johnson, Jamie Dornan, Jennifer Ehle, Eloise Mumford, Victor Rasuk, Luke Grimes, Marcia Gay Harden, Rita Ora, Max Martini (plus)VOD (5)
Résumés(1)
L'histoire d'une romance passionnelle, et sexuelle, entre un jeune homme riche amateur de femmes, et une étudiante vierge de 22 ans. (texte officiel du distributeur)
Vidéo (26)
Critiques (17)
Un film qui commence 5 minutes avant le générique de fin. Une scène qui est la seule à susciter des émotions. Le reste est trop cliché et superficiel pour susciter de l'intérêt et permettre d'avoir de l'empathie pour les personnages, ou susciter l'intérêt de suivre l'évolution de leur « relation ». Dakota Johnson joue bien et est naturelle. Jamie Dornan n'est pas naturel et joue comme Affleck dans Armageddon. Et tout s'écroule avec lui, car son personnage complexe et mystérieux est censé être le cœur du film, tout comme le personnage de Sharon Stone l'était dans Basic Instinct. Du moins, j'espère que le cœur du livre repose sur de la psychologie et non sur le fait de voler en hélicoptère et de recevoir des voitures en cadeau. La scène de négociation de contrat est la seule insertion créative du point de vue de la réalisation au milieu de ce vide gris. Mais pour le film dans son ensemble, elle est insignifiante. La scène la plus caractéristique est celle où elle joue du piano après s'être déshabillée… Personnellement, j'ai été heureux de la réponse « Moi » à la question « Et qu'est-ce que j'en gagne ? ». Parce que moi, l'impatient, je ne saurais jamais y répondre moi-même, et je préférais tourner la page et chercher une autre candidate, plus experte dans ces choses.
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Ce film suscite des commentaires assez vifs et polarisés, y compris de la part de mes utilisateurs favoris, et je ne compte pas me lancer dans une polémique. Ce qui m'étonne particulièrement, c'est le succès du livre ; celui-ci m’échappe, mais je suis conscient que je ne fais pas partie du public cible. Paradoxalement, j'ai préféré le film, ce qui est totalement exceptionnel. Il a omis, de façon logique, ce qui m’irritait le plus dans le livre tout en se concentrant sur ce qui était essentiel et visuellement attrayant. J'aurais pu imaginer une tout autre distribution pour le duo central. Les acteurs retenus conviennent, mais je tiens quand même à dire que Gosling aurait été parfait dans le rôle de Grey et que le film aurait alors peut-être atteint un niveau artistique supérieur. Et j’en tire une conclusion limpide : pour les deux suites, je me contenterai de la version filmique, car il y a plein de bons livres qui m'attendent déjà dans ma bibliothèque.
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Il est meilleur que sa réputation (et certainement mieux que le livre), mais ce n'est pas assez bon pour en valoir la peine. Cependant, nous aurons certainement droit à deux autres volets car cela rapporte une énorme somme d'argent.
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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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(moins)
(plus)
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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Annonces