Opponents will rejoice, though fans will probably lament the release of “Breaking Dawn – Part 2,” the final installment in the now-infamous “Twilight Saga.” The series, which has grossed over $3 billion, has borne much criticism, especially in light of the film’s romantic melodrama and legion of merchandise and catchphrases (lest we forget the dreaded “Team Edward/Bella/Jacob” love triangle which has been gratefully etched from audiences’ minds since 2010’s “Eclipse”). However, in “Breaking Dawn – Part 2,” we are confronted, oddly, with a more mature and inclusive experience, one that drops its flat, monotone narration and delivery, and attempts to go beyond the reach of its cold-blooded predecessors.
From the film’s start, we are stricken with the impression that Director Bill Condon is trying harder. The opening credits are painted with vibrant colors, with camera fly-overs of cold wilderness mixed with brilliant hues, as well as a new rendition of Carter Burwell’s piano score from the original “Twilight.” This new feel is likewise brought over to the movie’s first scenes as a newly transformed Bella (Kristen Stewart) opens her now scarlet eyes onto a world of sunlight and glistening objects real enough to touch, giving audiences the impression they are awakening alongside her to a new and radiant world.
Other “Twilight” films were known for catapulting audiences headfirst into romantic melodrama and sparkling vampires. However, “Breaking Dawn – Part 2,” although filmed back-to-back with “Breaking Dawn – Part 1” breaks off from this world, taking the time to explore its characters in ways we’re not used to seeing. Now a vampire, Bella spends a great deal of time exploring her newfound powers, and virtually no time narrating her every thought to the camera. Some scenes are humorous, during Bella’s first hunt or when she almost crushes Edward with her now-super strength, but others are forlorn, as when the Cullens discuss with her the seemingly-unavoidable fact that for mercy’s sake they should probably tell her father (Billy Burke) that she died.
Additional plot points are filled in along the way, most notably complications involving the Cullen’s cousin Irina mistakenly reporting to the Volturi vampire clan that Bella and Edward’s biological daughter is an “Immortal Child,” a crime in the vampire world punishable by death. Much of the rest of the movie is then devoted to the Cullens convincing as many vampire friendlies as they can that the child is naturally born in an attempt to ward off a colossal confrontation with the ageless vampire clan.
For whatever reason, the acting is markedly improved this time around, credited a large part, no doubt, to the end of the melodramatic “Edward-Bella-Jacob” love triangle. Without the fighting and Edward and Jacob’s “twelve paces at high noon” tough guy exchanges, the story is allowed to transform much like the newly reimagined Bella. As Jacob, Lautner, who previously gnarled his teeth in-between stripping off his shirt, becomes an immensely more likeable character, having “imprinted” on Bella and Edward’s daughter, and seems to serve as a guardian. Likewise as Edward, Pattinson, who has never had what could be considered character development, gets a bit more attention in this movie. Previously a stationary figure, here he gets much more dialogue and depth, particularly near the middle of the film in what passes as a father-son dialogue with Cullen patriarch Carlisle (Peter Facinelli) before the film’s climax with the Volturi clan.
The biggest change, and the one I wasn’t expecting, however, lies with Kristen Stewart, who somehow manages to make Bella interesting, entertaining, and downright likeable with the assumption of her vampire powers. Stewart, who has hitherto been mocked for her flat dialogue and facial affect, has never been known to bring great talent to the role of Bella Swan. Ironically, however, her transformation into a vampire breathes spirit and passion into a previously lifeless character. She’s more confident, beautiful, and, devoting much time to protecting both her human and vampire families, comes off as much more human than she ever had as a clumsy and self-involved teenager.
And lastly, while we won’t give away the ending of the movie (as it differs greatly from Stephanie Meyers’ novel), the climax of “Breaking Dawn – Part 2,” involving an epic vampire vs. vampire battle, should serve as a satisfying conclusion that wraps up the series evenly and effectively. And while perhaps predictable, the twist, when it comes, works to reward moviegoers who have put in 8+ hours in the “Twilight” world, where a weaker yet more faithful following of the book would have served as little more than a colossal letdown.
The bottom line? Well, if you didn’t like the other “Twilight” films, it’s doubtful that “Breaking Dawn – Part 2” will win you over. It’s still a lot of the same faux-pas and cringe worthy moments (an early argument between Jacob and Bella being the worst offender), but reaches somehow beyond its previous limitations. Its plot is more focused, and, for the first time, feels as though “Twilight” is about more than a teenager girl’s crush. Accidentally or purposefully, Bill Condon stumbles upon an experience that almost supersedes the tween romance that inspired it. Given the “Twilight Saga’s” mega-successful box office return, perhaps “Breaking Dawn – Part 2’s” greatest criticism lies in the unfortunate fact that it took five years and five movies to get there.
– by Mark Ziobro
1 Comment
wow you have time for twilight but don’t have time for old boy or Seven Samurai.