The Twilight Saga: Breaking Dawn — Part 1

It's disappointing that a story so pregnant with dramatic possibilities should wind up feeling like such an unconsummated opportunity.


Bella Swan kisses abstinence and mortality goodbye in “The Twilight Saga: Breaking Dawn — Part 1,” in which the vampire-loving teen gets hitched, knocked up and almost destroyed from within by her little bundle of joy. All the more disappointing, then, that a story so pregnant with dramatic possibilities should wind up feeling like such an unconsummated opportunity. Drawn from Stephenie Meyer’s polarizing, weirdly compelling fourth novel, the film is rich in surface pleasures but lacks any palpable sense of darkness or danger, which is a roundabout way of saying that Summit has protected its investment well. Supernatural B.O. awaits.

The guardians of this enormously popular franchise ($1.8 billion in worldwide grosses) have in effect followed the “Harry Potter” playbook by splitting the final chapter into two parts, ensuring thorough plot retention and, more to the point, maximum B.O. penetration. In what will seem cruel and unusual punishment for fans, however, “Part 2,” with its promise of a full-scale vampire war in which Bella will play a crucial role, is slated to hit theaters Nov. 16, 2012, forcing auds to wait nearly a year after “Part 1” to devour the second half of the Bill Condon-directed double feature.

Certainly the highest-profile helmer attached to the series so far, Condon takes the reins capably enough here, though his approach suffers from a certain stylistic anonymity that seems endemic to the material. Like any commercial behemoth, “The Twilight Saga” by nature resists any attempt at transcendence, experimentation or risk; that’s especially unfortunate in the case of “Breaking Dawn,” which is by far the most out-there novel in the series and would have benefited from a dash of Cronenbergian body-horror and, commercial restraints notwithstanding, a willingness to push past a PG-13 rating. Given the early fright pics on his resume, the chameleonlike Condon would have been more than up to the challenge if given the chance.

Things begin, happily enough, with a wedding, as Bella (Kristen Stewart) says “I do” to Edward Cullen (Robert Pattinson) and joins his family of shimmeringly benevolent vampires. Still violently opposed to the union is Bella’s lupine best friend and spurned suitor, Jacob Black (Taylor Lautner), especially when he learns the new Mrs. Cullen has decided to postpone her bloodsucker transformation until after her Brazilian honeymoon.

Jacob is right to worry: Though filmed with the utmost soft-focus, duvet-wrapped tastefulness, the couple’s wedding night leaves Bella covered with bruises, the bed in tatters, and the audience, presumably, in a puddle of ecstasy. Surely this must be the first movie series so innately fearful of sex (and yet so dependent on its leads’ sex appeal) that even proper conjugal relations come with a note of caution, none more frightening than when Bella suddenly finds herself with child — half-human, half-vampire, a phenomenon with no biological precedent.

Up to this point, Condon and returning series scribe Melissa Rosenberg have translated the material in appreciably swoon-worthy fashion. Bella and Edward’s woodland wedding may look like an Abercrombie & Fitch spread (their honeymoon suite skews more Pottery Barn), but it’s an ardently, unabashedly romantic setpiece. By now Stewart and Pattinson have merged so completely with their roles and each other that the sight of the duo’s matrimonial bliss — delicately shaded by that sense of transience and loss that attends even happy life transitions — delivers a genuine emotional payoff.

Woozy soft-rock montages and moonlit skinny-dipping interludes come effortlessly to “Breaking Dawn — Part 1.” The film is far less adept at conveying the requisite mounting stakes once the newlyweds rush home to find themselves under siege on multiple fronts. True to the spirit of masochistic self-sacrifice that has defined the series, the now haggard-looking, blood-sipping Bella insists on carrying her demon-child to term, not only endangering her own life (and suggesting a potentially fascinating medical debate), but also inciting a full-on war between the Cullens and Jacob’s werewolf pack.

Every time the film shifts away from Bella and Edward to address the larger group dynamics, the narrative goes flat and the ensemble’s line readings turn to wood, in large part because this style of dramatization is so at odds with the thrust of the source material. Meyer, no great prose stylist but an intuitive storyteller, places unusual emphasis on sensory and extrasensory gifts; that various characters can read minds, smell scents and hear heartbeats is of crucial importance to the advancing narrative. These are tricky, fundamentally un-cinematic modes of perception, and that they haven’t found their visual equivalents here is hardly surprising.

More trying is the fact that Lautner plays the pivotal role of Jacob as such a softie; a more ferocious, testosterone-fueled approach would have raised the temperature of individual scenes and enabled the actor to hold his own better opposite Stewart and Pattinson. On the action front, the otherwise polished production reps a significant downgrade from the superior “Eclipse”: Two nocturnal wolves-vs.-vamps combat scenes are essentially thrill-free, and so underlit that one is inclined to suspect slapdash CGI. With any luck, it’s a mere warm-up act for the more epic supernatural showdown brewing a year from now.

The Twilight Saga: Breaking Dawn — Part 1

  • Production: A Summit Entertainment release and presentation of a Temple Hill production in association with Sunswept Entertainment. Produced by Wyck Godfrey, Karen Rosenfelt, Stephenie Meyer. Executive producers, Marty Bowen, Greg Mooradian, Mark Morgan, Guy Oseary. Co-producer, Bill Bannerman. Directed by Bill Condon. Screenplay, Melissa Rosenberg, based on the novel "Breaking Dawn" by Stephenie Meyer.
  • Crew: Camera (Deluxe color), Guillermo Navarro; editor, Virginia Katz; music, Carter Burwell; music supervisor, Alexandra Patsavas; production designer, Richard Sherman; supervising art director, Troy Sizemore; art director, Lorin Flemming; set decorator, David Schlesinger; costume designer, Michael Wilkinson; sound (Dolby Digital/DTS), Steve C. Aaron; supervising sound editor, Dane A. Davis; re-recording mixers, Michael Minkler, Tony Lamberti; special effects supervisor, David Poole; visual effects supervisor, John Bruno; visual effects, Tippett Studio, Lola VFX, Image Engine, Wildfire Visual Effects, Method (CIS) Canada, Mr. X, Soho VFX, Engine Room, Digiscope, Hydraulx VFX Modus FX, Comen VFX, Pixel Magic, Prologue, Cebas Canada; stunt coordinators, Jeff Imada, Scott Ateah, Marcio Caldas; associate producer, Barbara Kelly; second unit director, Bill Bannerman; casting, Debra Zane. Reviewed at Wilshire screening room, Beverly Hills, Nov. 9, 2011. MPAA Rating: PG-13. Running time: 117 MIN. <br>Secondary Cast: With: Michael Sheen, Anna Kendrick, Sarah Clarke, Christian Camargo, Gil Birmingham, Julia Jones, Booboo Stewart, Mia Maestro, Casey Labow, Maggie Grace, Myanna Buring.<br><br><div class="fb-comments" data-href="http://www.variety.com/review/VE1117946558?refcatid=31" data-num-posts="150" data-width="500"></div>
  • With: Bella Swan - Kristen Stewart<br> Edward Cullen - Robert Pattinson<br> Jacob Black - Taylor Lautner<br> Charlie Swan - Billy Burke<br> Dr. Carlisle Cullen - Peter Facinelli<br> Esme Cullen - Elizabeth Reaser<br> Emmett Cullen - Kellan Lutz<br> Rosalie Hale - Nikki Reed<br> Jasper Hale - Jackson Rathbone<br> Alice Cullen - Ashley Greene