merelyaninnuendo The Virgin SuicidesIt takes guts to pull off such a risky project and not because it is way too dark that it is almost inedible but the makers still keep it light and breezy on the rest of the journey which doesn't come often and shows a sign of greater talent. Sofia Coppola is no short on execution but it rarely factors in or is noticeable for there is too much to work on the plotline. Her adaptation from Jeffrey Euginides' novel isn't smart but still the tone is kept alive that is palpable for the characters that resides in this symmetric world. There isn't much to ire on performance as the cast has done a decent job where Kirsten Dunst and Kathleen Turner may stand out. The Virgin Suicides is a plot driven feature that is so focused on the advancement and the pace of it that the ing characters may feel a bit undercooked or lack opportunity to factor in, that results into a smaller space for the audience to breathe in.
Sofia S Sofia Coppolas debut is my absolute favorite of all of her movies. Virgin Suicides has a unique look and is totally visual poetry with charming and hauntingly beautiful and melancholic scenes. The stunning photography, the slow paced style of telling the story accompanied with the wonderful soundtrack makes this movie an absolute winner. If you are new to Coppola watch her debut and enter the world of sadness, happiness, emptiness and love. Ed Lachman captured that wonderful light and Coppola really did something wonderful with the book which the movie is based on. This is a highly recommended movie everyone should see at least once and if you catch it screening in a theater near you on 35mm go and watch it, I was lucky to do it and it was wonderful!
keithbrown-90195 After 5 films now, it's clear that Sofia Coppola is a formalist first and foremost, but it's still a little alarming how thoroughly she was able to adapt the tone of the book's prose to the screen, especially as a first time director. The melancholy and mystery of Eugenides' words absolutely permeates every frame, complemented perfectly by the fantastic period detail: 1970s, suburban America, an idyllic homestead as any, filtered through a fever-dream haze. As per usual, the soundtrack choices are spot on. Filled with classics from the 60s and 70s, and a splash of modern and ethereal additions by Air; the music is essential, and expertly paired with the gorgeous images. I don't know if there's ever been a more fitting introduction to a character than Trip Fontaine walking down the halls of his school to the guitar wails of Heart's "Magic Man".I love how the narrator is never specified beyond being one of the boys. They, as a collective, share an experience, and then they share it with us. Even though we see more of them than their book counterparts (perhaps due to Coppola relating more with them than Eugenides did) the girls remain mysterious, elusive, and the boy's obsession with them is transferred to the audience. We watch and wonder, forming assumptions based on brief glimpses behind the curtain. Of course, we never come to understand them (because when have teenage boys understood girls?), but we make assumptions anyways because it's human nature. Surely the parents are at fault? But what about their peers? What about the media they consume? It's left deliberately vague and mysterious, and the desire to unravel and understand is certainly a reason for the continued relevance of both book and movie.While the book was languid, the mundane turned extraordinary through expertly designed sentences; I often overlooked the sharp, black humor in favor of the mysterious beauty. The movie, to my great delight, is full of tiny moments – often provided by the actors, professionals of the highest order – where the smallest gesture or a look can bring the largest laugh. James Woods in particular gives a fantastic performance, all awkward positioning and uncertain conversation.By the time the movie ends, it feels as if we've witnessed and experienced these events alongside our group of boys, the way that stories we've heard in our lives over and over seem to become our own memories. The aimlessness of the narrative feels like a group recollecting a series of events years later, unsure of the order in which the stories should be told. Like the character's memories, some stories linger in my mind, while others fade and are forgotten. Moments like dancing to "Come Sail Away" at the homecoming, or discovering the girl's bodies are forever burned into my cinematic mind. It's a pretty great achievement for Coppola and her team (and I think it's her warmest and prettiest looking movie too, credit to Edward Lachman where it's due).
Johan Dondokambey The movie brought high school movie sub-genre to a weird spot as it places the high school life backgrounds and all the complexities surrounding it facing the contrast element of death and loss and coping with them. The movie goes curiously with it's opening and builds its story casually after-wards. The time frame background permits the story to exhibit cultural practices that may be deemed strange by people nowadays. Yet these weird practices gives a great way for the story to development into it's unpredictable ending. The acting overall is surprisingly good. James Woods and Kathleen Turner did their parts well in acting out as the parents. This movie sure was a showcase to display then young talents such as Kirsten Dunst, Josh Hartnett, Hayden Christensen and even Leslie Hayman. Cameos and smaller parts by Michael Pare and Danny DeVito nicely add some flavor to the movie as a whole.
