Breaking Dawn: Part One (2011)
Taking a cue from the blockbuster film franchise of our age, the Harry Potter series, the producers and studio heads decided to split the final Twilight film into two separate movies. Yes, for you cheerless, unfortunate males dragged along to author Stefenie Meyer’s estrogen-drenched soap opera, hoping to be done with Bella Swan and her sparkly vampire boyfriend, well your pain soldiers onward another year. If Breaking Dawn: Part One is any indication, we’re all in for a world of hurt come November 2012.
Wedding bells are ringing for Bella Swan (Kristen Stewart) and her undead boyfriend, noble vampire/undead heartthrob, Edward Cullen (Robert Pattinson). Bella’s persistent demand to be turned into a vampire is finely about to come true. She wants to stay human a bit longer, to savor her last days on Earth before sipping blood through a bendy straw. Her always-in-second best bud, Jacob (Taylor Lautner), is worried for Bella’s well being. The wedding is like a fairy tale and Edward sweeps his new bride away to a tiny island off of Rio de Janeiro, where the housekeepers illogically speak Spanish. The couple makes the most of their time alone, and by this I mean they have sex (I refuse to believe this couple would play chess in their newlywed downtime). Edward withholds any second rounds of sex, fearing he’ll seriously harm his bride (he destroyed the bed in mid-copulation). No matter because Bella gets pregnant right out of the gate. We’re told this is impossible, yet her half-human/half-vampire fetus is rapidly growing inside momma’s belly. The baby is also destroying its host, eating away Bella’s body. Edward demands to kill the baby but Bella will have none of it. She’s going to deliver this baby even if it kills her. If it does kill her, then the truce between the werewolves and vampires will be broken, and Jacob’s feistier tribe mates will be knocking down the Cullen doors looking for some tasty vampires to chomp.
Director Bill Condon, he of Dreamgirls fame and an Oscar-winner for 1998’s Gods and Monsters, goes hog-wild with the emotions, fittingly reminiscent of the life-and-death swings of emotional polarity that orient a teenager’s life. Condon plays all of the ridiculous melodrama straight. It successfully channels the feelings of teenage angst and obsession, much like the first Twilight film. This Teutonic exhibit of buzzy hormones is like catnip to the Twilight faithful. Finally, they get what they’ve been waiting for, and Condon and screenwriter Melissa Rosenberg delay that gratification even longer. This is the longest wedding I’ve seen on screen since The Godfather. It takes up about 45 minutes of the movie. The protracted walk down the aisle literally takes longer than the rest of the ceremony combined. I can already envision thousands of young girls asking for the “Bella dress” when their time down the aisle comes. At no point does the movie address the fact that the “groom’s side” probably are all absent a heartbeat (“Hmm, extreme paleness? Are you with the bride or the groom? I’m at a loss.”). That’s a missed comedic opportunity. What’s with the wedding guests played by name actors like Maggie Grace (TV’s Lost, Taken)? Did they hire recognizable actors for one-line bit parts? They better have larger roles in the second feature. Under Condon’s direction, the film looks marvelous, and even the long-awaited love scene has some discernible heat to it that will give teen girls “funny” dreams for the next few months. Condon’s also helming the next and final film, so I can at least say it’ll look swell.
This last film was broken into two parts due to the mountains of money the studio would make. It surely wasn’t for some sort of artistic necessity. The plot of BD: Part One is stretched mighty thin. It’s no joke that the wedding and honeymoon takes up half the running time. The baby drama is handled so amateurishly, and the plot ramps up the incubation time so that everything happens too fast for the audience to adjust to how stupid everything truly is. The first half of the movie is free of meaningful conflict. It’s just concerned with payoffs. From everything I’ve read online, and from female friends who have partaken of the series, BD: Part One pretty much covers most of the plot of the 400-page book. What’s left? I would totally give the series a pass if the second movie started with Bella, hair a knotted mess, holding a shrieking baby. Edward sits at the table, drinking. “When are you gonna get a job?” she yells. “When are you gonna stop being a bitch?” he retorts, then gulps down a swig of booze. This domestic downer of an ending would almost make the whole series worth sitting through. Truthfully, as the teaser during the end credits advertises, if Michael Sheen (Frost/Nixon) has a larger part in BD: Part Two, it automatically becomes, sight unseen, the best movie of the series. Thus is the awe-inspiring power of Michael Sheen.
This has long been a silly franchise filled with poorly veiled messages that seem less empowering to teenage girls than reassuring to their parents. Long a heavy-handed message about abstinence, the characters finally get to have sex, after they’re properly married of course (does God really object more to vampire-human relations or when it occurs?). And you better believe the moment Edward and Bella eventually do the deed is a moment that teen girls, and their mothers, around the nation have been anticipating for three long, hard years. The buildup to the carnal climax is a rapturous release for the audience of Twi-hards; my theater felt like it exploded in pubescent hormones and giggling as soon as the proverbial train entered the station. Speaking of euphemisms, I find it telling that not a single character ever refers to sex as, well, “sex.” They keep dancing around the term, referring to it as indistinct pronouns like “this” or “that” or the slightly more specific “honeymoon activities.” It’s like the characters can’t talk about a mature topic without a case of the giggles. There’s even a scene where Jacob talks about Bella’s forthcoming tangle between the sheets, openly, and with alarm: “You’ll kill her,” he tells Edward. He doesn’t kill her but he does leave bruises all over her body. Bella assures her new husband that he’s not to blame, arguing, “You just couldn’t control yourself.” What kind of irresponsible message is that sending to teenage girls? But after enduring three movies of “save it until marriage,” the message is made even clearer when Bella, after one bout of sex, gets pregnant. Boom. Bella breaks the news by saying, “The wedding was 14 days ago, and my period’s late.” Edward stares dumbfounded and replies, “What does that mean?” Apparently, after graduating from high school 200 times just for kicks, Edward must have been absent every damn time for sexual education (“Condoms go OVER? Oh! This whole time I thought they went UNDER, you know, to hold everything in.”).
It’s here where the movie awkwardly shifts into a relentlessly pro-life message on legs. I’m not against movies presenting messages, but when a movie is as narratively empty and transparently padded as BD: Part 1, then the movie just gets swallowed up by the clumsy message. It doesn’t matter that Bella’s unborn hell spawn is literally killing her, sucking her dry from the inside out, she’s going to have this baby no matter what, even if she dies in the process. Okay, Meyer, we get it. Here’s a question for the world: can anyone really tell that much difference between emaciated Kristen Stewart and her normal self? She always appears a little sickly and hollow-eyed, but maybe that’s just me. The baby is basically the only conflict the movie presents and it happens so late in the film. Thanks to a fast gestation period, the demon fetus is determined not to wait until Part Two to make its grand entrance. Now that Bella is preggers, she’s become instant buddies with Rosalie (Nikki Reed, a long way from Thirteen), and the two of them begin a war against non-gender pronouns (its vs. he/her). The baby conflict would be more interesting if it was a tad more ambiguous, but the fact that it literally is killing Bella, not to mention its monstrous possibilities, and yet she persists to give birth is less characterization and more stubbornness. If Bella’s worried she’ll never have another chance to have a flesh-and-blood daughter, then explore this. Otherwise it makes Bella look blithely cavalier with her own life.
It’s here where Meyer and the Twilight franchise, already deliriously high on teen angst, goes off the charts into weirdo territory (some spoilers will follow). Never mind where the werewolf boys (and a girl) manage to find new clothes after they destroy them after each beastly transformation, we’ve got far weirder moments to process. There’s a vampire C-section via biting. There are giant wolves communicating via growling telepathy and bad CGI. There are Bella’s completely batshit names for her child; if it’s a boy she wants to combine Edward and Jacob’s names because that’s not awkward (“See, son, you’re named after the other guy I could have slept with but decided to just string along instead.”). And if it’s a girl she wants to combine her mother’s name and Edward’s mother’s name forming the atrocious “Reneesmee.” Excuse me? That makes “Apple” seem as traditional as apple pie. No one tells Bella these names are horrific because she’s pregnant, naturally. I imagine all the characters broke out into laughter as soon as Bella left the room to go puke into a bucket. Easily the weirdest and dumbest thing in the history of the Twilight franchise occurs as a contrived deus ex machina and a tidy solution to Jacob’s eternal, annoying pining. Jacob is determined to slay the monster he believes responsible for killing his unrequited love, Bella, but then he looks into those cute little baby eyes and… swears devotion to this newborn babe. He “imprints” on her, which means that they are meant to be together, and thus the werewolf/vampire truce holds. “Of course,” Edward intones, “Imprinting is their number one law. They cannot break it.” Of course! This reminded me of the scene at the end of the second Harry Potter movie where a phoenix comes from nowhere and cries into a wound (“Of course, phoenix tears can heal anything,” Harry informs while I was physically smacking myself in the head). Doesn’t anyone else find this whole plot development creepy? Jacob can’t have the mother, so he’s going to have the baby? And he’s got to wait 18 years if he wants their coupling to be legal on top of that. I think a messed up name is the least of this kid’s worries.
It all comes down to the heroine of the franchise, Miss Bella Swan (sorry, Bella Cullen now). I just don’t get what all the fuss is about. To me, Bella isn’t worth the effort. She’s never really been anything close to a fully formed character. Bella Swan has always defined herself by having a boyfriend, and when he was gone it was about pushing her friends away and moping until she finally found a new guy. She has zero self-identity, no center, she is an empty shell, there is no there there. She’s a cipher, meant for the teenage readership to plug themselves into her place. I won’t restate my theory that the Twilight series is glossed-up pre-teen wish fulfillment, but there you have it. Yet there are sneaking moments where Bella seems almost shockingly… human. Her anxious montage of preparation before her first night of sex is relatable and sympathetic (what outfit to wear? Shave the legs? What kinds of makeup?). Too bad this relatable side of her character vanishes all too quickly. Before Bella defined herself by her boyfriend and now she defines herself by her baby. She’s still the same whiny, selfish, morose, and cruelly manipulative Bella, though. She can’t let Jacob alone; she has to continue stringing him along, bringing him into inappropriate personal matters. Jacob’s always been a bit of a control freak who seems to spout quasi-rapist dialogue (the classic “You love me, you just don’t know it yet.”), but the guy’s always gotten a raw deal as far as I’m concerned. Betrothed to a baby is not a worthwhile parting gift. I worry that young, impressionable girls are going to look at Bella as an influential figure. If these same gals want a literary heroine they could truly look up to, they should feast their eyes on Katniss Everdeen, proactive and laudable star of the Hunger Games and forthcoming movie of the same name.
The three actors have been playing the same character notes for so long that they could all just go on autopilot and collect their paychecks. Stewart (Adventureland) is less annoying than she has been in previous films. I’m trying not to take out my disdain of her character on the actress, who I’ve genuinely liked in pre-Twilight projects (even her Joan Jett performance was pretty decent). Pattinson (Water for Elephants) seems to shrink into the background for this movie. There are a lot of long, ponderous, somehow meaningful stares between the two, with the soundtrack trying to communicate emotions that the screenplay has failed to do (a little more variety on the soundtrack next time, fellas? I think I tuned out after the twelfth melancholy piano ballad). Luckily, Pattinson does have something of a screen presence to go with those abs. Unfortunately, the same could not be said for Lauthner (Abduction). The young buck, formerly of Shardkboy fame, just cannot act. He has a nostril-heavy manner of expressing emotion that makes you wonder if he’s about to blow your house down. It’s telling that within mere seconds of the film beginning, the guy rips off his shirt, the peak of his acting abilities. I suspect it will not be long before Lautner and his six-pack and sitting at home, unemployed, and indulging in a different six-pack.
Breaking Dawn: Part One is certainly not intended for critics of the book and film series or really any audience member lacking ovaries. But I think that even the most ardent Twi-hards will walk away giggling at the silliness of the overripe melodrama. I try not to be out rightly dismissive of the whole series, but the bad characters, bad plotting, and questionable messages make it hard to continue bending over backwards to find slivers of quality to support. I get the appeal of the series, the fact that Bella Swan is a cipher to exercise frothing teenage wish fulfillment, but that doesn’t excuse the movies from being so bad. This isn’t the painful abomination that was 2009’s New Moon, but it’s come the closest. Only the promise of more Michael Sheen makes me hopeful that BD: Part Two will be better than its predecessors. When you’re talking about an obscenely popular moneymaker, quality becomes secondary to delivering a product that is recognizable to the demands of the screaming fans. BD: Part One is less a payoff than a warning. There is more to come, and if you thought Bella was intolerable before just wait until her vampire growing pains.
Nate’s Grade: C-