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‘The Virgin Suicides’ is a magnificent, understated, and tragic drama, punctuated by colossal rock music of the leisurely ’70s, and featuring terrific performances, particularly by Kirsten Dunst, Josh Hartlett, and a nearly unrecognizable Kathleen Turner. What makes the film even more mighty is that it is the directorial debut by Francis Ford Coppola’s daughter, Sofia, best known prior to this by her less-than-stellar performance in ‘Godfather 3′! Her sensitivity with this material establishes her as a director to be reckoned with, and a lawful talent!
The film focuses on the five Lisbon sisters, glowing, yet repressed by a religious and overly protective mother (Turner), who encourages their vivid growth, but tries to block any sexual or emotional stirrings. The girls turn their passions into other channels, bonding tightly with one another, and viewing the world as outsiders. When the youngest attempts, then succeeds at killing herself, the family gains an unwanted notoriety, and a group of local boys open to esteem the remaining sisters from afar, gathering materials, and creating a fantasy world about them.
Lux, the most ravishing and free-spirited of the sisters (Dunst), attracts the attentions of the most well-liked boy in school, Tripp (Hartnett), who confuses raging hormones with like, and begins a campaign to ‘have’ her. Winning the respect of their father (James Woods, in another pleasant ‘against-type’ portrayal), he succeeds in wearing the mother down, and arranges ‘dates’ for the sisters, so he can retract Lux to the Homecoming Dance. The party provides the springboard for the tragedy that gives the film its name, and catapults the girls into icons that the boys who cherish them can never forget.
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There are many reasons to steal this film; Coppola’s conception of how boys and girls interact, and her obvious touch with their issues about sexuality; Kirsten Dunst’s best performance to date, conveying both sweetness, and barely suppressed erotic desire; Kathleen Turner’s breakthrough as a character actress, sacrificing her glamorous persona for a stocky and frumpy matron. There are some honorable cameos, as well, particularly Danny DeVito as a clueless psychiatrist, Scott Glenn as a family priest who offers platitudes instead of comfort, and Michael Paré as an older Tripp, reminiscing about Lux, and their ‘love’.
This is a very special film, one that you will not soon forget! I highly recommend it!
The Virgin Suicides is Sofia Coppola’s directorial debut, and its effectiveness illustrates that she’s better tedious the camera than she is in front of it. (Most movie-goers will remember her ill-fated attempt to record Michael Corleone’s daughter in The Godfather III.) Tragic, haunting, and sometimes darkly comedic, this movie leaves a strong impression in its telling of a epic about the destruction of innocence. The film is based on the book by Jeffrey Eugenides, which happens to be Coppola’s current new. As a result, she felt that, in bringing the adaptation to the hide, she had a strong responsibility to be faithful to the source material.
The time frame is the mid-’70s and the setting is an upper class suburban community in Michigan. The film tells the black memoir of the five Lisbon sisters – Cecilia (age 13, played by Hanna Hall), Lux (age 14, played by Kirsten Dunst), Bonnie (age 15, played by Chelsea Swain), Mary (age 16, played by A.J. Cook), and Therese (age 17, played by Leslie Hayman) – all of whom approach to a terrible slay before finishing high school (this noteworthy is revealed during the introductory voiceover, which is provided by Giovanni Ribisi) . Unfortunate, neglected Cecilia is the first to give up on life – after surviving one suicide attempt, she is successful on the second try. In the wake of that event, the atmosphere surrounding the surviving sisters becomes grim, and their parents’ overprotectiveness threatens to suffocate them. For most children, mothers and fathers status boundaries; for the Lisbons, it’s iron bars.
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The Virgin Suicides is filmed as a memory looking abet through 25 years, and the point-of-view is that of a boy who was in adore with one (or perhaps all) of the girls. As a result, the events recounted here offer a filtered perspective of the sisters and the complexities of their lives. Presenting things in this manner, The Virgin Suicides manages to be both poignant and touchingly nostalgic. Also, Coppola’s style is such that she avoids turning the film into a sudsy melodrama that glamorizes self-destruction.
One of The Virgin Suicides’ strengths is its ability to effectively take the nuances of teenage life during the ’70s. Coppola gets all of the slight things right: the awkwardness of a chaperoned boy/girl party, the thrill of first treasure, and the nervousness of the pre-dance ritual (in this case, the homecoming dance, not the prom) . The film also boasts a solid soundtrack featuring a few songs that haven’t been endlessly recycled in other, original, set-in-the-’70s features. In one key scene, music provides a link between the Lisbon girls and the outside world – it becomes their only viable means of communication and free expression.
Most of the cast is comprised of current faces, all of whom do solid jobs. The more recognizable names include Kirsten Dunst as Lux (the girl with the most visible role), James Woods (as the girls’ father), and Kathleen Turner (as their mother) . Josh Hartnett (last seen as the guy who loses the girl in Here On Earth), who is slowly building a reputation in Hollywood, plays heartthrob Lunge Fontaine, whose unpleasant treatment of Lux sets off a chain of events that leads to one of the movie’s tragedies. The Virgin Suicides also includes excerpts from a modern-day interview with a forty-something Coast (played by Michael Pare), who clearly has regrets about his treatment of Lux.
By using occasional bursts of humor and setting up the film as a collage of reminiscences, Coppola establishes a mood that is wistful and dismal, but not funereal. There are a few instances when the film gets a small heavy handed, but, for the most share, the tone is well modulated. Although Coppola almost certainly gained more than a dinky abet from her celebrated father in getting the production off the ground, the talent evident in her debut argues that this is not a case of unwarranted nepotism. The apple has not fallen far from the tree.
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