09-12-2009, 01:12 PM
Okay, I may be in the vast minority here when I say... Twilight is one of the most unsettling books, and films, of the decade o_o .
The sheer fact that this mad creature wants, no, lusts to experience human emotion, only for his kind, who are more familiar with and revel in their common animalistic nature, to hunt down both his "vegetarian" self and his object of deluded desire... was more than simply chilling, but thought-provoking as well.
The book series brought a whole new level of symbolism to the vampire mythos. Vampires as we know them are not based on some archetypical boogeyman, but instead simply on on an idea of the pervert: the preyer on the innocent. The stalker does not lose his power in sunlight in these modern, naive, and often too complacent times, to some, he does in fact sparkle.
There is more to this film than symbolism though. Vampires are actually given supernatural power, almost demigodlike here, that make them much less vulnerable and in fact a much more everpresent threat than in classic representations. When it is only a monster that can stop a monster, what is humankind to do but to be forced to take volatile refuge with the very objects of its' fear?
In the end, it almost seems the main vampire, Edward, shows true humanity in the beating and killing of his own kin. And, since other vampires seem to condone the in-fighting, it truly raises some questions as to whether or not a human can be safe in such company. Would Edward react the same if James were not out to kill someone who he deemed worthy of his affection?
A more unsettling conflict representing traditional human nature has not been as effectively posed in a horror film since the original Rocky Horror Picture Show, and not with such frighteningly conflicting poles of love and hatred since Edward Scissorhands.
The sheer fact that this mad creature wants, no, lusts to experience human emotion, only for his kind, who are more familiar with and revel in their common animalistic nature, to hunt down both his "vegetarian" self and his object of deluded desire... was more than simply chilling, but thought-provoking as well.
The book series brought a whole new level of symbolism to the vampire mythos. Vampires as we know them are not based on some archetypical boogeyman, but instead simply on on an idea of the pervert: the preyer on the innocent. The stalker does not lose his power in sunlight in these modern, naive, and often too complacent times, to some, he does in fact sparkle.
There is more to this film than symbolism though. Vampires are actually given supernatural power, almost demigodlike here, that make them much less vulnerable and in fact a much more everpresent threat than in classic representations. When it is only a monster that can stop a monster, what is humankind to do but to be forced to take volatile refuge with the very objects of its' fear?
In the end, it almost seems the main vampire, Edward, shows true humanity in the beating and killing of his own kin. And, since other vampires seem to condone the in-fighting, it truly raises some questions as to whether or not a human can be safe in such company. Would Edward react the same if James were not out to kill someone who he deemed worthy of his affection?
A more unsettling conflict representing traditional human nature has not been as effectively posed in a horror film since the original Rocky Horror Picture Show, and not with such frighteningly conflicting poles of love and hatred since Edward Scissorhands.
âThe Fright Night remake is a film which taps into the audienceâs deepest rooted fears, such as those of vampires throwing motorcycles at them. I dread the thought of a vampire throwing a refrigerator or a deskjet printer or... Iâd better stop before I give myself nightmaresâ
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