Un groupe de garçons amis est obsédé par cinq soeurs mystérieuses qui sont surprotégées par leurs parents stricts et très religieux dans la banlieue de Detroit au milieu des années 70.Un groupe de garçons amis est obsédé par cinq soeurs mystérieuses qui sont surprotégées par leurs parents stricts et très religieux dans la banlieue de Detroit au milieu des années 70.Un groupe de garçons amis est obsédé par cinq soeurs mystérieuses qui sont surprotégées par leurs parents stricts et très religieux dans la banlieue de Detroit au milieu des années 70.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 3 victoires et 15 nominations au total
- Adult Trip Fontaine
- (as Michael Pare)
- Chase Buell
- (as Anthony Desimone)
- Parkie Denton
- (as Noah Shebib)
Avis à la une
What does it all mean and how is this film to be viewed. I initially thought it was all and really only about the girls, but years later I realize it's more about the boys/now men. The whole thing is told exclusively from their perspectives. And one that is but distant memories/recollection from their youth. As such the viewer really must take these decades of distance between the events and the retelling into consideration and accept that the narration is suspect. It is suspect not only for the many years time, but it's basically teenage boys experiences with beautiful and captivating girls as the objects of those memories, told by the now adult teenage boys. The girls are so mysterious to the boys and the audience because teenage boys know nothing about teenage girls, and even though they are now adults they still don't understand them. The story is a combination of how things happened, along with how now decades later, they would have actually liked things to have played out. As such this makes a lot more sense and clarity to the story and one that I finally find to be interesting and worth checking out.
It is the premises for this admirable work of sofia Coppola to reflect, in precise manner, the universe proposed by Jeffrey Eugenides. The faithfull portrait of characters, atmosphere, life in neighborhood is one of basic virtues.
The second good job remains the acting and the surprising way to define, from Josh Hartnett to Kirsten Dunst the complexity of age, the seduction and vulnerability and life like dream, preserving the ambiguity defining the story.
Not the last virtue is the intensity of emotion of reader of novel, rediscovering details and slices , accurate adaptated.
A film about loneliness, life of small comunity , a couple loving, in his way , cold and precise, their daughters and a form of vulnerability , not surprising for teens, but defining the perspective about life in cold manner.
Oh. My. God. This film was beautifully done with its easy-on-the-eyes cinematography, the shades of colours, the portrayal of seasons, the flawless actors (all of them), the way they moved & spoke.
As in the book, this film is told as a memory of a group of boys' fascination & obsession with the lives of a group of very blonde sisters.
It's not your typical formula film & includes a wondrous soundtrack, to say the least, with hypnotic contributions by Air. It still lingers in my mind - the true mark of a great film, in my eyes.
The book, the film, the soundtrack: I recommend them all.
It isn't always clear in the movie where the movie is heading to. This is mainly because there are often characters introduced in the movie, who once after they are out of the story, make you wonder what exactly their purpose for the movie was. Characters come and go in this movie and once you think that they are going to play an important part for the movie, they are already gone again. The story isn't always told from the right perspective which makes this movie at times a bit incoherent to watch. This is also due to the fact that at times the movie is set in 'present time' (1999), while the rest of the movie is set in the '70's. Those sort of scene's make it pretty obvious that this movie is based on a book. I'm sure all those element worked just fine in the book but for a movie it is pointless and adds no extra value to the story. A lot of things still remain unclear after the movie has ended, which makes this movie as a whole an unsatisfying one to watch.
I also never really got into the characters. I never quite knew what went on in those girls heads and I never felt their desperateness and their cry for help. The portrayal of their parents (James Woods and Kathleen Turner) was also a opportunity wasted. Instead as strict and tough parents they are portrayed as simply narrow minded people, who have their own ideas about what's good and wrong for their children. If they had portrayed the parents as two completely strict and tough persons, the movie would had become more, claustrophobic, sensible, emotional and more understandable.
The cast is good and has cameos in it from Danny DeVito and Scott Glenn and roles from Josh Hartnett and Hayden Christensen before they received real fame as actors. The movie however isn't really a character movie. The main essence of the movie is put on the style and look of it. For that reason the movie also perhaps feels a bit as a waste of a great cast.
The movie is good looking and well directed by Sofia Coppola but it seemed that they forget about the story at times. It makes "The Virgin Suicides" a bit of an incoherent movie to watch at times. Because of the lacking storytelling the movie never truly becomes emotional or truly understandable and therefor it's nothing more than a just average drama that is good looking but nothing more than that.
6/10
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Le saviez-vous
- AnecdotesAfter she had written the script, Sofia Coppola was heartbroken to discover that another company was already producing an adaptation of the book themselves. However, they were not happy with their script, so she showed them hers and they ended up using it instead.
- GaffesThe father refers to his model airplane as a B model North American P-51 Mustang in British service, however, the model aircraft is actually a Curtiss P-40 Warhawk.
- Citations
Narrator: [Narration] In the end we had pieces of the puzzle, but no matter how we put them together, gaps remained. Oddly shaped emptiness mapped by what surrounded them, like countries we couldn't name. What lingered after them was not life, but the most trivial list of mundane facts. A clock ticking on the wall, a room dim at noon, the *outrageousness* of a human being thinking only of herself.
- Crédits fousWhen the title appears, it first appears like a schoolgirl's idle writing, replete with hearts replacing the "dots" over the "i's". The title then repeats over and over, in different modes of print and script (the handwriting equivalent of different typefaces and fonts), filling the screen. It is accompanied by various decorative doodling (an eye with tears, a caterpillar, clouds, unicorns, a flower, the sun).
- Versions alternativesReleased in two versions, the general, worldwide theatrical release and an edited cut for television viewing in Germany. Runtimes are, respectively, "1h 37m (97 min)" (theatrical release) and "1h 30m (90 min) (TV) (Germany)".
- ConnexionsFeatured in Air: Playground Love (2000)
- Bandes originalesOn the Horizon
Written and Performed by Sloan
Courtesy of Murderecords
Published by Two Minutes of Music Limited
Meilleurs choix
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Vírgenes suicidas
- Lieux de tournage
- 28 Dunloe Road, Toronto, Ontario, Canada(The Lisbon residence - the original property has been knocked down)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 9 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 4 906 229 $US
- Week-end de sortie aux États-Unis et au Canada
- 235 122 $US
- 23 avr. 2000
- Montant brut mondial
- 10 414 053 $US
- Durée1 heure 37 minutes
- Couleur
- Mixage