“Fifty shades of freedom” (Fifty Shades Freed)
Director – James Foley
After more than four hours of screen time, the one who was volokoy and not so virgin as at the beginning of “Fifty shades of gray”, student Anastacia Steele (Dakota Johnson) finally achieved her: the third and last film on erotic books by E.L. James opens the wedding scene of Ana with the millionaire and adherent of BDSM Christian Gray (Jamie Dornan). In a romantic movie, going to the altar usually equals a happy end, but not like “Fifty shades” – because a newly married couple has so many evil-lovers, and even in the relations of Christian and Ana, there are still unresolved and unobvious problems. Contrary to the reputation of this franchise, the latter relate not so much to experiments with whips and handcuffs (in them a young wife starts off without any moral indignation) – and, for example, such pressing existential questions, as if the husband of a respectable man has the right to take off a bra on the beach in Nice or should she now change her email address (from anasteel to anagray). In addition, E.L. James to his heroes and such ages ruining the marriage trap as an unplanned pregnancy.
We must give credit to the third series of “Fifty Shades”, at least for the fact that it reminds us that the transition of love relations into an institutionalized stage does not yet guarantee the arrival of peace and full mutual understanding in them. Another sign of progress (compared to the previous two series) is the reduced timing: if their predecessors went more than two hours each, the “Shades of Freedom” is limited to only a hundred minutes of screen time. However, and on them the normal, eventful plot of James (she again acted as a screenwriter of the film adaptation – a couple with her husband Niall Leonard) and director James Foley does not quite get to scrape together. So the film spends ridiculously a lot of time on maximally stamped dialogues about the importance for Anastashey of her own, independent of her husband’s business (while it works in Gray’s publishing house)
Realizing that to keep the attention of viewers such a minor drama is unlikely to happen, Fowley dotted the film with erotic scenes: here the characters are fucked in the shower, but in the car, here – in the kitchen (in the course is ice cream!), But in the notorious “Red room” of Christian. With all this, nothing more frank than the pubic hair of Dornan and nipple Johnson in the frame still will not appear – if it comes to that, where the obscene look in the “Fifty Shades” is the lengthy, varied and necessarily voiced pop-art illustration of the poor student Anastase’s opening a rich life. “You have a new airplane, darling?” – the girl is surprised. “No, dear, we have,” – sounds in response. Interiors, sports cars and outfits Foley shoots with such voluptuity that his movie gradually and inexorably changes the genre: it’s not softcore erotica,