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New Moon
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| A new poster promoting the sequel in the Twilight series, "New Moon," is shown. The film opens nationwide on Nov. 20. (AP Photo/Summit Entertainment) |
By Emily Rice, For The Bulletin
Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice
Robert Frost’s poem opens Stephanie Meyer’s third book in the Twilight series, but this juxtaposition of fire and ice is dramatically on display in the story of her second, New Moon, whose eponymous movie opens in theaters this Friday. This chapter of the story develops the tension between protagonist Bella Swan’s two suitors: Robert Pattinson’s vampire Edward Cullen and werewolf Jacob Black, played by Taylor Lautner. The film effectively showcases this rivalry, and even viewers unfamiliar with the books may come to understand the passionate division of Ms. Meyers’ fans between Team Edward and Team Jacob.
Director Chris Weitz has created a film that satisfies the expectations of fans of the novels, but is sufficiently self-contained to be enjoyed for its own sake. In this it is an improvement over the first Twilight movie, which tried to convey so much with fancy camera work and editing that viewers encountering the story for the first time were left confused and unimpressed. Gone, too, is the blue haze which colored the first movie, with the result that these beautiful young actors are allowed to look beautiful, instead of like advertisements for Vick’s Vaporub. Edward’s exit early in the movie also minimizes the extreme audio close-ups of Edward and Bella, in which we are voyeuristically party to their every breath. Even Bella’s hapless and clueless classmates are rendered more appealing than in the first film, although this may be in part because her world gets so strange that it’s easy to empathize with their befuddlement.
There are two points from the first film which require explanation to enjoy the second. First, in the original movie Bella, played by Kristen Stewart, was pursued and captured by evil vampires, and this threat introduced Edward to the unbearable possibility of life without her. Second, in the course of rescuing Bella, Edward and his family destroy the vampire who was hunting her, incurring the wrath of his mate, Victoria, who stalks Bella and the community of Forks throughout New Moon. Victoria’s presence inspires many of the action sequences, but it is Edward’s despair that introduces the film’s consideration of human mortality and the nature of the immortal soul.
The movie opens on the morning of Bella’s eighteenth birthday, as she awakens from a dream in which she has become an old woman, while Edward, though still beside her, is unchanged by the passing years. Her adolescent horror at the prospect of her own mortality prompts her desire to become like him, so they can stay together for eternity. For his part, Edward recoils at the thought of sacrificing her humanity by turning her into a vampire, although his attitude toward the fate, or even the existence, of his own soul is inconsistent. The lovers’ essential paradox is conveniently presented in the pair’s high school English class, which is studying Shakespeare’s Romeo and Juliet.
Unable to protect Bella from the inherent dangers of life with vampires, even domesticated ones, and unwilling to change her into a vampire so she can protect herself, Edward decides to leave, plunging Bella into a profound depression. Bella’s sanity is tenuously preserved by her deepening relationship with childhood friend Jake Black, but when she discovers that dangerous situations provoke visions of Edward, she becomes something of an adrenaline junkie. A tragically over-interpreted cliff diving accident sends Edward to seek death at the hands of the Volturi, ancient leaders of the vampires.
The film’s climax in the palace of the Volturi is exciting and horrifying. If these creatures are, as Edward avers, the “royalty” of the vampire world, it must indeed be a very different world from that presented by the pleasant domestic existence of the Cullen clan. While the werewolves’ fighting scenes are loud and startling, the nightmarish violence of the Volturi really earns New Moon’s PG-13 rating.
The special effects in New Moon are not only visually satisfying, but contribute to the audience’s understanding of finer points within the basic plot. The werewolves are thunderous in their attacks, and show up of the dichotomy Meyers has drawn here between animal and intellect. Whereas the vampires are represented as such superior creatures that their strength and speed can only be conveyed through fancy camera work, Jake and the other Quileute wolf boys demonstrate physical prowess that is just on the edge of human possibility. All this action notwithstanding, this film may appeal more to women than to men, if only because most of the two hours is spent with the leading lady in close relation to her “sort of beautiful” non-boyfriend. On the whole, though, it is a faithful and satisfying presentation of a tremendously popular book.
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice
Robert Frost’s poem opens Stephanie Meyer’s third book in the Twilight series, but this juxtaposition of fire and ice is dramatically on display in the story of her second, New Moon, whose eponymous movie opens in theaters this Friday. This chapter of the story develops the tension between protagonist Bella Swan’s two suitors: Robert Pattinson’s vampire Edward Cullen and werewolf Jacob Black, played by Taylor Lautner. The film effectively showcases this rivalry, and even viewers unfamiliar with the books may come to understand the passionate division of Ms. Meyers’ fans between Team Edward and Team Jacob.
Director Chris Weitz has created a film that satisfies the expectations of fans of the novels, but is sufficiently self-contained to be enjoyed for its own sake. In this it is an improvement over the first Twilight movie, which tried to convey so much with fancy camera work and editing that viewers encountering the story for the first time were left confused and unimpressed. Gone, too, is the blue haze which colored the first movie, with the result that these beautiful young actors are allowed to look beautiful, instead of like advertisements for Vick’s Vaporub. Edward’s exit early in the movie also minimizes the extreme audio close-ups of Edward and Bella, in which we are voyeuristically party to their every breath. Even Bella’s hapless and clueless classmates are rendered more appealing than in the first film, although this may be in part because her world gets so strange that it’s easy to empathize with their befuddlement.
There are two points from the first film which require explanation to enjoy the second. First, in the original movie Bella, played by Kristen Stewart, was pursued and captured by evil vampires, and this threat introduced Edward to the unbearable possibility of life without her. Second, in the course of rescuing Bella, Edward and his family destroy the vampire who was hunting her, incurring the wrath of his mate, Victoria, who stalks Bella and the community of Forks throughout New Moon. Victoria’s presence inspires many of the action sequences, but it is Edward’s despair that introduces the film’s consideration of human mortality and the nature of the immortal soul.
The movie opens on the morning of Bella’s eighteenth birthday, as she awakens from a dream in which she has become an old woman, while Edward, though still beside her, is unchanged by the passing years. Her adolescent horror at the prospect of her own mortality prompts her desire to become like him, so they can stay together for eternity. For his part, Edward recoils at the thought of sacrificing her humanity by turning her into a vampire, although his attitude toward the fate, or even the existence, of his own soul is inconsistent. The lovers’ essential paradox is conveniently presented in the pair’s high school English class, which is studying Shakespeare’s Romeo and Juliet.
Unable to protect Bella from the inherent dangers of life with vampires, even domesticated ones, and unwilling to change her into a vampire so she can protect herself, Edward decides to leave, plunging Bella into a profound depression. Bella’s sanity is tenuously preserved by her deepening relationship with childhood friend Jake Black, but when she discovers that dangerous situations provoke visions of Edward, she becomes something of an adrenaline junkie. A tragically over-interpreted cliff diving accident sends Edward to seek death at the hands of the Volturi, ancient leaders of the vampires.
The film’s climax in the palace of the Volturi is exciting and horrifying. If these creatures are, as Edward avers, the “royalty” of the vampire world, it must indeed be a very different world from that presented by the pleasant domestic existence of the Cullen clan. While the werewolves’ fighting scenes are loud and startling, the nightmarish violence of the Volturi really earns New Moon’s PG-13 rating.
The special effects in New Moon are not only visually satisfying, but contribute to the audience’s understanding of finer points within the basic plot. The werewolves are thunderous in their attacks, and show up of the dichotomy Meyers has drawn here between animal and intellect. Whereas the vampires are represented as such superior creatures that their strength and speed can only be conveyed through fancy camera work, Jake and the other Quileute wolf boys demonstrate physical prowess that is just on the edge of human possibility. All this action notwithstanding, this film may appeal more to women than to men, if only because most of the two hours is spent with the leading lady in close relation to her “sort of beautiful” non-boyfriend. On the whole, though, it is a faithful and satisfying presentation of a tremendously popular book.
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| Twilight’s Underlying Chastity Message |
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