![]() ![]() You’d think that whoever writes such ignorant gaps into a script, or whoever films such gaps, has never actually had sex-or worse, had never even fantasized about it.īut maybe that’s exactly the point: in writing the specifics of a sex scene, in filming a scene of explicitly sexual activity, filmmakers reveal what they are imagining or fantasizing about in relation to the script, the scene, the story, the characters-and themselves. It reflects an inability to think of sex as action and to think of characters as actual sexual beings with the sexual complexity of any ordinary person. The trouble with the sex in most movies isn’t a matter of prudery but of a stultifying failure of erotic imagination-and of dramatic imagination. The movie is far from a masterwork, but the glossy fantasies of “Fifty Shades” deliver something altogether significant, substantial, and welcome. It isn’t a joke, and it isn’t complete junk. It isn’t mommy porn, and it isn’t softcore porn. ![]() “Fifty Shades of Grey”-and I’m referring to the movie, not to the book, which I haven’t read-isn’t porn. It’s not that the good stuff was left on the cutting-room floor it was never filmed, or mentioned in the script, or imagined by the director and screenwriter. In short, they’re sex scenes in which everything sexy is eliminated. The scene elides the stages of erotic progress, from the restaurant to the car to the door, from the first kiss and the aroused gropes to the subtleties of tender empathy and intimate knowledge that make the difference in any encounter. Usually, it involves a cut from a couple at a restaurant or in a car to the two of them pneumatically heaving in bed, or pounding unseen flesh while still mostly dressed and standing in a vestibule or a kitchen or a hotel room. The perfunctory sex scene is a problem of romantic comedy and of serious drama alike. Jamie Dornan and Dakota Johnson in “Fifty Shades of Grey.” ![]()
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