Yet amid the blatantly empty fantasy is a scintilla of substance. ButĪna wants to keep and renovate the old house, maintaining its charm The dispute, however, pivots not just on flirtationīut on architecture and its uses: Gia proposes to tear the house downĪnd is showing off her plans to rebuild a modern one on its site. Place with a lacerating insult that only the high-handed rich patronĬould get away with. Together, Ana gets her power moment and delivers it, putting Gia in her Howler: “I love what you’re doing in Africa.”) In a moment alone Ramshackle old manse by an architect named Gia Matteo (Arielle Kebbel), Lakeside house, Christian insists on taking their Autobahn-ready Audi, When the couple heads out to a remote old Labyrinth (though, fortunately, there’s a chief of staff at home to keep Unthinkingly-going out, seeing friends, driving-is now a logistical Daily life hasīecome complicated, and what she used to do effortlessly and Make her a potential target of robbers and kidnappers. Nowhere without a member of her security detail, because wealth and fame Office communications, has a hissy fit then he gets over it.Īrriving home with Christian in his-sorry, their-sleek and vastĪpartment occupying mansion-like terrain inside a modern high-riseĪpartment building, Ana is taught the rules of the game: she can go Christian,ĭiscovering that she’s using the name Steele rather than Grey in her
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Husband (who has, in fact, bought the company-picking up on a gag from the second film in the series, he’s her boss’s boss’s boss). Identity and not convey the impression that she owes her position to her Grey (though she’d prefer to be called Ana),īut at work she wants to remain Ms.
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At home, to herĭomestic staff, she’s Mrs. Hesitates about making what’s his-namely, his name-hers. Her absence, she has been promoted to chief fiction editor), she Publisher Seattle Independent Press (ludicrously discovering that, in Hers, but, when they get home and Ana shows up at her office at the book
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(Those new tax breaks will certainly come in handy.) What’s his is Private jet-or, rather, as he instantly reminds her, their private Party and are whisked to a nearby airport, where they board Christian’s Ana) Steele (Dakota Johnson) and Christian The notion isn’t all facetious, either, not even in the slight, simplistic, utterly undeveloped paces through which the film puts its You (ooh-ooh).” The last film in the trilogy is an alternately breezyĪnd tense tale of marital accord, conflict, and reconciliation, setĪgainst a background of fabulous and seemingly effortless wealth and the Summarized by a song from the Depression-era musical “Gold Diggers ofġ937”: “Oh, baby, what I couldn’t do (ooh-ooh), with plenty of money and Week it returns in “Fifty Shades Freed,” in a form that is best Romance is more or less dead in studio movies-neither the romanticĬomedy nor the romantic drama has remained a big-ticket item-but this