Wow, that was a topic title I never thought I’d write. Anyway, long story short, I saw the last Twilight movie, and we need to talk about that ending. You know, (last spoiler alert!) how there’s this EPIC BATTLE and OMG MAJOR CHARACTER DIES…but J/K LOL! It was all a premonition of a dark future that doesn’t come to pass!
I haven’t read the books, but I’m told that this construct is unique to the movie.
So, what are we to make of this? Is it a clever way of adding big box-office epic mayhem to a story that otherwise lacks it? Or is it the cheapest of cheap tricks: taking the audience down a road of drama and mayhem, only to turn around and tell the audience that none of that actually happened?
I’m going back and forth, but I ultimately give credit to the filmmakers for choosing this path. That being said, I hope this doesn’t start a trend of epic fake-outs in movies.
Isn’t this potential trend of epic fake-outs just a rehashing of the “it was all a dream” ending?
I was probably too happy about the deaths of Jasper and Carlisle. And the killing-vampires-by-popping-off-their-heads was surprisingly satisfying. It was disappointing that it wasn’t real, but it did allow the audience to have a moment of fun in a really action-less movie, while still keeping purists happy. It seems like this kind of thing is pretty unnecessary, but maybe as more and more books with rabid fan bases get adapted into films this will become more common–the crowd-pleasing action scene that doesn’t actually change events from the book. I’m looking forward to the scene in Fifty Shades of Grey where everyone’s head gets popped off. Although, I haven’t read the books. Maybe that actually happens…
I think the fight scene was really well done, actually! I had understood that there was a *twist* of some sort, or something that departed from the book near the climax, and so I was a perfect target for the bait-and-switch.
The actual direction of the fight was easily the best action we’ve seen out of the series, and was satisfying from a spectacle point of view alone. But its inclusion, while potentially justified from that point of view, isn’t just for the purpose of spectacle – it’s very helpful for the plot, as well.
Aro may use his system of “witnesses” for corrupt gains of power, but he also trusts strongly in witness testimony, as backed up by his own gift. He believes in what his sight (telepathy?) tells him. Alice shows him the extended fight scene, and then we flash back to reality. But why is it so long?
Because it had to be. It was necessary to perform the memory of the premonition all the way through, from the moment she shows him all the way to Aro’s death, and the flames that come afterward. The moments with Seth and Leah (as well as Jacob) might seem irrelevant to us, but are part of the series of events leading up to the conclusion – to leave them out would be to give false witness of the potential future. The sequence of vampire-deaths that occur are doubly necessary, not just as points in the timeline but as instigations for Aro to join the fray (and meet his doom). It is only after bearing witness to his own death, viewed doubly through his own gift and the one he seeks to harvest, that Wesley Snipes resolves to call the day a draw.
The last look he gives, by the way, is I think a telling moment for the character. Aro cares about himself by way of the Volturi and the Volturi by way of himself, but at a very real level, he is passionate about the vampire race itself. Seeing this group band together against him is mildly annoying but not quite daunting. Seeing them win, and seeing some of the best of his kind at their best? Is something that certainly impresses him. He wants Alice all the more now, and will be even happier on the day he gets her to join with him.