Forty Shades of Blue (2005)


Sachs’ love triangle a la Sundance is just more art house malarkey deemed important and groundbreaking, when it’s more soapy melodramatic fodder with a dull plot and a lackluster series of performances. I was severely disappointed as I was looking forward to “Forty Shades of Blue.” Mainly because the film looked to be an interesting take on the love triangle set to a life of a woman won by a man with a brutal ego.

“Forty Shades of Blue” is never as important as it wants to be, never as intelligent as it tries to be, and never as good as it vies to be. A man struggling with infidelity and his own life, “graphic” scenes of sexual activity, and a montage set behind an arty song. It’s all here, and none of it is ever used to its full capacity of dramatic effect. Sachs relies on long drawn out moments of silence meant to reflect the misery of the characters trapped in the situation, yet he never uses these moments to convince the actors to convince us of this set-up.

Sachs’ film is muddled, and often times dull as hell. It’s melodrama and manipulative recycling of old plots only painted as innovative independent cinema, and the ploy just doesn’t work. I was never convinced I was watching anything new, and I cared for none of the characters. The intended effect is that all of these people are despicable, and horrible, but they’re too bland to be either and come off as such. The performances here are shaky and dim, especially by Dina Korzun, and the climax is so abrupt and rather irritating that all the symbolism is lost instantly.