The Virgin Suicides

"The Virgin Suicides" is a sort of mixed bag. It's a beautiful made movie with wonderful directed sequences in it but the storytelling doesn't always makes sense and is simply terrible lacking at times. A case of 'style over substance' you can perhaps conclude.

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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I'm uncertain why the daughter of a Hollywood icon would select as her first director effort a nearly unfilmable book of linguistic time bombs and nearly unspeakable tragedy. Jeffrey Eugenides's book The Virgin Suicides is one of the underappreciated gems of the 1990s and surely Sophia Coppola must have known that the critics would have it out for anything she did (see reviews listed under "acting: Part 3, The Godfather"). So Coppola, daughter of Francis Ford, decided to do something unexpected: She made a gem of a movie that's easy to like and complex enough to savour.

Taking place "25 years ago" in "Michigan," The Virgin Suicides tells the story of a group of teenage boys and the Lisbon sisters, whose suicides changed them forever. The book is told with a rather unique choral narrator (the entire story is in the first person plural) which makes it clear that the focus of the story is not the Lisbons, but the boys and their attempts to restructure the events of what must have been their final summer of innocence. Similarly, the film features extensive voice-overs, culled from the book, coming from an unidentified member (or members) of the gang. You might wonder why you're never able to distinguish between any of the four or five or six males who wander through the story, or why at least several of the Lisbon girls also blend together, but rest assured it's intentional. The Virgin Suicides is very much about a baffled collective.

The movie begins with the first suicide attempt of the youngest Lisbon girl. When the doctor examining her asks why should would try to kill herself she offers the simple response, "Obviously, Doctor, you have never been a thirteen year old girl." The book and film are both really about men and how incapable we are of understand what it's like to be a thirteen year old girl or a thirty year old woman or really anything in between. And what's even more frustrating is the fact that women seem to understand men so devastatingly well (a trait perfectly personified in Kirsten Dunst's portrayal of middle sister Lux). The narrative such as it is marches inexorably through the gradual awakening of the narrators and the inevitable realization that they never knew anything.

Coppola, who also adapted the screenplay, makes decent use of the book's two metaphorical subplots -- an outbreak of Dutch Elm Disease and a cemetery worker's strike. The rot of suburban life lies at the core of this story and Coppola wisely never overplays her hand. She loves using mythic imagery, generally revolving around Dunst, an actress beginning to produce the kind of resume that speaks of longevity. Coppola's background in costuming is also evident, displaying the decadence and tackiness of the observing characters, contrasted with the spare Puritainism of the Lisbons.

Coppola gets mostly good performances from the young generation of her cast. As the only two characters to get individual notice, Dunst and Josh Hartnett do excellent work. She's the animal core of the film and he perfectly captures the perplexed, corrupted purity of the male side of the story. Playing against type, James Woods is excellent as the Lisbon's introverted henpecked father and Kathleen Turner is effectively scary as their domineering mother.

The film is also aided by some wonderful technical work including Jasna Stefanovic's nostalgic, but never cutesy production design and Edward Lachman's versatile cinematography. The soundtrack by the French band Air is also notable, mixed with various hit songs from the period.

The Virgin Suicides has perhaps too many moments of whimsy, where it seems too devoted to its source, even when the material doesn't translate properly. But still, it's the moments of magic -- the Lisbon girls prom, an eerie family party, and phone conversation spoken only with records -- that stand out. I'd give this one an 8/10.

A beautiful adaptation of a great novel.

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.

genuine film talent runs in the blood. sophia coppola's debut is so perfectly done that it'll be hard for her to top. her use of camera angles and shadowing and filters came together so well. i didn't get to see it big screen but you don't need to. it's so elegant and "large" a film.

the acting is subtle and astute. the soundtrack lends to the film better than most films i've seen come out of new hollywood.

the only continuity flaw i saw was the elm tree being in the front yard towards the end after it was so cerimoniously cut down. being the psychological focal point of the film, they should have been more vigilant chequing the dailies...

virgin suicides and american beauty both show profound promise for new hollywood. see them both...

A strange, surreal flight-of-fancy of death and love, remembrance and how romanticized our memories become. It's also very funny, tending to mix the black comedy of something like "Heathers" with the stifling suburban scenario of "American Beauty" (but it's better than both). Kirsten Dunst is fantastic as the foxiest of five golden-toned sisters in the mid-'70s who feel trapped by their parents (a peculiar, but not overly monstrous couple), trapped by their feelings, trapped by time. They can breathe--and live freely--only in their fantasies (and perhaps in death), but do their realities represent a prison? It's the talent of writer-director Sofia Coppola not to push everything over-the-top; she's careful, she leaves the viewer contemplating the characters' motivations and actions. The situation is indeed unexplainable, yet it is in our nature to expect a resolution, to expect concrete evidence as to WHY and demand an answer. Yet there are no answers to the sadness of the strangers who live across the street, even as we pass through their lives and through their houses. "The Virgin Suicides" offers fascinating food for thought. *** from ****