The Stage, October 1951: "It is seldom that a play comes along that can grip like this one does. Perhaps it is just as well. The plight of dramatic critics whose emotions were weekly wrung with this sort of thing would be sad indeed. For here is a direct and sincere composition that, without possessing much artistic merit or beauty of line, tells, nevertheless, a story that grips the imagination from the outset and will not let it go. It does not demand much prescience to predict that it will duly gain a larger audience than it will see at Swiss Cottage ... Miss Rayman has etched a clear-cut and disturbing play in which the characters are extraordinarily well defined and endowed with a credibility that carries them unscathed through situations that verge at times perilously close to the melodramatic." [14] As one of the characters points out, the public doesn't want to know or hear what happens to the young women who are dismissed as shameless and who in the mid-20th century were still being treated like the "fallen" women of Victorian novels. With her silky tones, middle-class vowels and air of authority, Helen's word holds more sway than that of the young women unfortunate enough to enter her domain like flies entering a spider's web. No wonder she gets away with larceny, child neglect and worse.

Plymouth Theatre, New York (now Gerald Schoenfeld Theatre), Cambridge Arts Theatre, and other locations 4 th February – 8 th March 1952. Anthony Aldgate and James Crighton Robertson, Censorship in Theatre and Cinema, Edinburgh University Press, 2005 a b "Twilight | Info Pergaulan Masa Kini". Archived from the original on 2012-04-25 . Retrieved 2011-11-21.There’s Michael Sheen just chewing the scenery as Aro the mind-reading Volturi vampire – or is it Tony Blair? There’s the disturbing business of Jacob the werewolf “imprinting” on Renesmee the vampire-human baby and planning to become her lover when she is fully grown. There’s the sippy cup of blood with a straw when Bella gets those pregnancy cravings. There’s the eternal youth and immortality bestowed by vampirism, so why do all the actors look like they have been Botoxed and lathered in clown paint? Worse still, there’s a hidden anti-vegan message when Edward explains to Bella that his family are “vegetarian vampires” and only drink the blood of animals. “It’s like a human on tofu – keeps you strong but never satisfied.” Finally, it’s worth remembering that Fifty Shades of Grey began as Twilight fan fiction. The film stays true to the central premise of Sylvia Rayman’s drama which was to draw attention to the stigma of, and wider prejudice against unmarried mothers living in postwar Britain, issues that had not previously been highlighted by British cinema. Not only does the choice of subject matter make this film groundbreaking but the fact that it features an almost all-female cast and is based upon a play written by a then 28 year old woman also places it years ahead of its time. Of further significant note is that due to its then controversial storyline and the language that was originally used in the play – words like “bastards”, “brats”, and “bitch” – Women of Twilightwas the first British film to be given an X-certificate meaning that it could only be seen by anyone who was 16 years and over. The Spectator, October 1951: "Miss Rayman has written her first play around a revolting character who makes a comfortable income by taking unmarried mothers and their infants into her Hampstead home ... Virtue triumphs on the Embassy stage but it does not always triumph outside the theatre, and one is left wondering just what does happen to such girls who have neither friends nor relatives to turn to and who escape the welfare of the State for some reason. The piece is very well acted by Barbara Couper, Vida Hope, Rene Ray and the rest of a company entirely of women." [16] In Bitch magazine, Professor Christine Seifert labelled the saga “abstinence porn” and added: “Twilight actually convinces us that self-denial is hot. Fan reaction suggests that in the beginning, Edward and Bella’s chaste but sexually charged relationship was steamy precisely because it was unconsummated.” Daily Telegraph, January 1953: "I missed Women of Twilight as a play because I chose to; I saw the film because I must. This study of the conditions in which unmarried mothers live and have their children, and not uncommonly watch them die, is powerful, sordid, disturbing and perhaps not so overdrawn as some good easy people think. If it helps to awaken the public conscience and sharpen official vigilance it will be justified." [31]

The scene throughout is a semi-basement living room in a house near London, a grim and sordid place inhabited for sleeping and eating by a motley group of unmarried young women with babies - already born or about to be hustled into an unfriendly world. The 'proprietress' - a sadistic, unscrupulous woman called Helen Allistair - though a qualified nurse, exploits these unfortunate outcasts from society until one of them - the despairing girl Vivianne, whose gangster lover is hanged and who has nothing to lose - discovers this ghoulish creature's baby-farming activities. Vivianne, whose baby is shortly to be born, faces Mrs Allistair with her accusation, is brutally assaulted and almost loses her life. In the end justice is done, and Mrs Allistair gets her just desserts." [2] Play [ edit ] Steve Weintraub (November 3, 2010). "The Twilight Saga: Breaking Dawn Part 2 Gets Released November 16, 2012". Collider.com. Archived from the original on December 8, 2010. But Bella always had a streak of determination, and the strange power of being able to close her mind to Edward’s thought-reading. In Breaking Dawn I, she courageously handles the gruesome problems of giving birth to a hybrid human-vampire baby, but by Breaking Dawn II, she takes on vampire shape herself, and arm-wrestles the rest of the Cullen coven into submission, just after she has chased a mountain lion and sunk her teeth into its jugular. In the end, Bella is active and empowered, a leader in battle, and the Twi-hards loved it.

Many critics excoriated the tweenie trash (Roger Ebert described it as a “tepid achievement”) and its supposed sexual-abstinence message got a drubbing from feminists – more on that later. Trade shown on 4 November 1952, the film opened at the Plaza, Piccadilly Circus on 15 January 1953, with general release following from 23 February. Press responses ranged from "Though grossly overacted by all in sight, the film will draw pity from those who know how harsh the world can be" [25] to "Before virtue triumphs we are treated to a great deal of horror and degradation ... It is not only rapacious boarding-house keepers and baby-farmers who exploit the misfortunes of unmarried mothers. Where would popular playwrights and film producers be without them?" [26]