Driven by heart rather than fangs.

Rating: 7/10 (26 December 2008)

The vampire sub genre of the much broader class of horror film is one that is very rarely taken as a serious means of delivering drama or characterisation, never mind palpable romance. Twilight, the first of what is set to be a series of films based upon the popular books of the same name, counteracts this popular trend successfully, establishing a world that retains its otherworldly charm and yet still manages to deliver a story that most of us humans will be able to digest. It's a feature that is bound to polarise viewers; those attracted to the vampire complex will undoubtedly be let down by the lack of focus on such, and those repelled by the genre will most likely be the ones to enjoy it. In this vein I wasn't particularly looking forward to my viewing of Twilight vampire movies have only very rarely managed to entertain or engage me in the past- but I was pleased to find the experience rewarding, intelligent and fittingly driven by heart rather than fangs.
Focusing around teenage misfit of sorts Bella Swan (Kristen Stewart) as she moves to her father's cold and inhospitable town whilst her mother goes on a state-wide roadtrip with her new boyfriend, Twilight is first and foremost a character story. Not only is it such, but it directs its attention on a personality that isn't driven by the desire to feast. No doubt, Twilight wouldn't be much of a movie if it didn't feature vampires, but it does well to get the balance right in terms of focus. Where the key involvement between Bella and the cold ones comes into play however isn't through danger or a series of spooky 'boo' moments, but rather through subdued teenage-tinged romance. This key shift in momentum makes director Catherine Hardwicke's movie a much more subtle and slow moving feature than one might expect, and the result is potent in its ability to draw the mind and heart within its tale. Those looking for campy, rudimentary fun best look away; Twilight strives to be a little more than such.
What's most interesting about the feature however lies in its unconventional mix of action, drama and romance. Very rarely is it seen that movies with any degree of fantastical or action-orientated elements plays them in the background to the attention-demanding elements inherent within drama and romance. In this respect, Twilight achieves a tone and pacing quite unlike most examples out there; sure enough, the movie would undoubtedly be better off with even less of a focus on the thrills and chills or vampiredom, but one can at least attest to the fact that this small risk for the most part plays off in a refreshing manner that feels natural to the story that it tells.
So who exactly are these vampires and what do they want? Well, one group particularly the Cullens- simply chose to ignore their impulses to feed on human blood, and live together outside of town where they respectfully live on a "diet" of animal blood instead. One of these comes in the form of Edward Cullen (Robert Pattison), an attractive figure of mystique and animosity to his peers, who, by chance ends up falling for Bella in a strange way. This passion that Edward experiences for Bella plays out as a dualism consisting of lustful temptation and protective love; conflicted by his overwhelming desire to feed upon her, and at the same time convince her of his love, Edward is for the most part the tale's major source of character interest. Bella herself is straight forward, and plays as the catalyst for Edward's eventual conflict, but as a pair the two share a wonderful dynamism that often leaps from the screen in wistful, whimsy and romantic flares of imagery.
Part of what makes such moments as powerful as they are aside from the performances of those involved- is the potent sense of atmosphere that is created from the meshing of Hardwicke's romantic, otherworldly style and the similarly themed score penned by Carter Burwell. Echoing the dynamism and refreshing qualities of Melissa Rosenberg's screenplay, Burwell's music creates layers of different atmospheres that always propel the feature forward into a realm of its own. There's a distinct prominence of ambiance here too, that brings in less than traditional movie-score instruments to pull the job off and the effect is always interesting to behold. Furthermore, while not quite as daring as one would hope, the photography of Elliot Davis too adds much needed dimensions to the film's body, complementing all other elements with coherency and relevancy to what is being explored within the characters.
Granted, there are more than a few missteps that take place within the boundaries of what is for the most part a surprisingly effective anti-genre movie, but one can't help but be slightly distracted when they do come along. Kristen Stewart, although doing a fine job in much of the movie's less emotionally demanding scenes, too often falls pray to a lack of heart; the romance as a result during the middle section of the film feels a little underwhelming and disempowering. This and a slight dive in momentum and focus during the movie's final more action-driven- act constitute what are the only real major drawbacks of the film. Other than this, Twilight is a real treat. Intelligent but emotionally driven with a tone that is at times surreal and yet distinctly human, Twilight achieves what most dramas with less of a fantastical nature only wish they could; sure this isn't high-culture stuff, but that's part of its graceful charm. If there is one reason to see it, it isn't for the macabre themes, the fantasy or the vampires, but rather for the dark romance; Twilight is a rare breed of such that successfully mixes all of the required ingredients in a palpable, character-driven tale of warm sentiment.

Written by Jamie Robert Ward (http://www.invocus.net)