After two episodes reported having more than one billion dollars at the box office, it's time for David Slade director "vampire bankable" since 30 Days of Night, to take over the franchise's most profitable American film for the third installment of the adventures of Bella Swan and Edward Cullen, which is impatient, for months, millions of teenagers. If the previous two components do not shone by their originality in the treatment of the vampire myth, nor in their implementation, Eclipse can become a little less poor scriptwriting. However, retaining his puritanism of another century, his goings and his childish sentimentality love ambient, Twilight 3 shows the financial efficiency of a cinema systematized soulless and shameless.
Fi narrative ellipses (the audience could not follow), Twilight 3 begins where the two e chapter had ended: the request to marry Edward. After this outstanding untenable (Bella Will she accept the proposal?), The public will be reassured to learn that the answer is yes. But life as a mixed couple (human / vampire) is never simple, mysterious disappearances in Seattle disrupt the daily quiet of the two lovers. Victoria, the vengeful redhead, raised an army of bloodsuckers to eradicate Bella and the Cullen clan. Fortunately, in Forks (state Washington), in addition to a family of vampires, is also a family of werewolves. Jacob (Taylor Lautner), lycanthrope bodybuilder, madly in love with Bella, will try everything to protect the girl. Even going so far as suspending the old war raging between the two species.
Built around the triptych love Bella / Edward / Jacob, Eclipse is aptly named, as the poor girl seems incapable of choosing between a vampire and a dull werewolf mestizos. The alternating sequences in pairs allows each "male" to try his luck. But this "speed-dating" film without real pace for without challenge, adds difficulty a film that does not shine by its dynamism. If seduction remains constant between the characters (already at work in the two previous episodes), this sarabande supposed titillate never exceeds the sexually correct, but instead promotes abstinence stubborn.
Reactionary apparent in its treatment of carnal knowledge (prohibited), Twilight distilled Yet as the scenario in the iconography, a somewhat deviant moral ground. USED BY Bella and Victoria and their physical charms for favors. While the redhead (symbolically already loaded) embodies evil to destroy Bella, she can tease the innocent lamb with a vengeance without it he is prejudiced in the eyes of spectators. This treatment of the same string dystrophy dessert coherence of the narrative, but also points the sensationalist nature of the film. While all sexuality, stamped with the seal of infamy, it is impossible for the actors, the staging never ceases to excite the libido of a teenager spectators with rifle werewolves ultra muscular, shirtless and denim shorts (the climate of Seattle is perhaps more tropical than it seems), or appearances of the fop Edward (topless but in a more meager, history that everyone will find his account). Evacuant the flesh of his speech, but imposing sexual imagery, Twilight 3 plays the score-holy Nitouche front, the better the shots gin e-ass-ed fashion magazines.
Strangely, if Twilight has become a global fad, the new bank has the archetypes of beauty in very stereotypical of the times (the surfer tan or pale punk), yet the film avoids branding that dress transforms players into hangers. No apparent marks or surlooking frantic, but rather a ascetic clothing, out trends and timeless. This lack of publicity tag, even though the target audience is presented as the ideal consumer, provides a crumb of that Twilight timeless universalism, which supplies blood to the vampire myth around the world for several centuries.
screenplay speaking, this third aspect, however, departs slightly from its predecessors. The use of flashbacks to the film avoids falling into anorexia narrative of the first two. The writers (perhaps inspired by the TV series True Blood) have finally used a specific vampire : Immortality. Bitten in the past, the descendants of Dracula all have so singular a genealogy rooted in times of high grade film. The Great Depression Cullen Rosalie (Nikki Reed) or the Civil War for Cullen Jasper (Jackson Rathbone). Using as a backdrop the events of American history (choice a bit too ethnocentric), Twilight unfortunately not consider that the plastic (costumes, scenery ...) without understanding the mythic dimension that could finally give substance these beings devoid of psychology. A good narrative idea remains artificial, if not cleverly incorporated into the story at hand. The same goes for the flashback werewolves, Indian legend set in a free image.
The first and the final sequence of Twilight answer each echo. Bella and Edward are languishing in a sunny glade, is flirting. Recalling pastoral literature obsolete, supposedly instilling impeccable moral character virginal adolescents who have not yet seen the wolf, these scenes perfectly symbolize the twin challenges of the film. Under cover of a romance (not credible because disembodied), Twilight sows the seeds of new moral order. The vampire turns into a Trojan horse. Hidden under the trappings of a seductive sexual creature, puritanism into dark rooms for better "vertualiser" sinners. Attention Twilight War will take place.
Posted: http://www.critikat.com/Twilight-chapitre-3-Hesitation.html
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