What was likely far more effective in literary form, with the chance to understand Bella's emotions and mental process making the romance far more credible does not translate into film.
As such, with this crucial central romance lacking the necessary spark which made the novel such a success, Twilight, for all of its periodic cinematic potential, just feels somewhat unnecessary.
The film's casting is perfectly passable, supplying a sufficient variety of up and coming pristine teenage beauties capable of essaying their character types, yet for a book which was driven by such genuine intensity and passion, one can't help thinking of all the performances as somewhat listless and flat.
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However, Meyer's revisionist take on vampire lore is intriguing, and the viewer wishes the film had delved into the technical aspects of immortal vampire lifestyles further - a sequence where protagonist Bella slowly begins to suspect the true identity of the mysterious boy she has found herself involved with is impressively eerie and chilling.
Such moments are aided incalculably by the tremendous musical score of Carter Burwell, whose bold mix of brassy Gothic themes and eerie, chilling motifs perfectly compliments the intensity of the film.
However, Twilight's main concern lies in its script, which boasts some particularly gruesome patches of dialogue apart from the general lack of characterisation one has sadly grown to expect from the teen romance genre.
Similarly, despite director Catherine Hardwicke appearing to be the perfect candidate to helm such a film (with directorial debut Thirteen demonstrating a keen knowledge of the teenage girl mentality), her handling of the source material is unfortunately shaky.
The film repeatedly falls prey to the "Harry Potter syndrome", feeling somewhat clunky in its almost robotic adherence to its source material, giving it the sense of jumping awkwardly from plot point to plot point and lacking the necessary cohesion and narrative flow.
But most importantly, for a film revolving around its central romantic attraction and sexual tension, the audience is never really given the chance to FEEL the romance, to be drawn in by the mutual lust and entrapment of the two leads for one another.
In an oddly rushed sequence, the budding romance between protagonists Bella and Edward is reduced to a couple of nonchalant sessions of hanging out, mostly demonstrated through montage, after which Bella's (largely unnecessary) narration declares her unequivocal love for Edward.
This rather abrupt transition would toe the line of appearing satirical of teenage romance were it not for the fact that the viewer realises the moment is meant to be completely heartfelt.
As a string of mysterious killings grips Seattle, Bella, whose high school graduation is fast approaching, is forced to choose between her love for vampire Edward and her friendship with werewolf Jacob. After Edward suggests that she move to Florida, Bella becomes visibly agitated, but her heart rate according to the EKG doesn't change.