The Virgin Suicides (2000)

Such a frustrating disappointment

Absolutely brilliant

In truth, there is barely enough story here to make a film.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

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).

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.

Sofia Coppola's The Virgin Suicides is a one of a kind film that evokes a certain ephemeral yearning that hearkens to the days of our teenage hood, when hormones rage, emotions flare, and life has just begun its parade of confusion, tragedy and wonder. It's hard film to put in a box as it evokes a special kind of mournful atmosphere that's hard to duplicate, and an atmospheric, lurid quality that I've never seen done so well. Except ,aye in Donnie Darko. Coppola almost borrows from Cameron Crowe's gauzy, cloud stained aesthetic with her combination of ethereal music, free flowing work from the actors and undefined narrative that leaves you feeling a variety of different emotions. In classic American suburbia, five angelic, untouchable sisters are the object of every neighbourhood boy's yearning affection, and blooming lust. Ruled over by a fanatically conservative mother (Kathleen Turner), and a repressed father (James Woods cast excellently against type as a feeble, twisted man), the sisters find their blossoming womanhood hindered by their mother and father, resulting in a confusing, stunted coming of age that only ends in tragedy. What a beautiful, intoxicating tragedy it is though. The oldest of the girls (Kirsten Dunst), becomes entranced by boyish hunk Trip Fontaine (Josh Hartnett), and from there events spiral downward. The cast is top notch, Dunst shows uncanny maturity, Woods is tragically pathetic, and Turner is a force of misguided religious fury. There are perfect cameos from Scott Glenn, Danny Devitio, and Michael Parè as well. It's a hard movie to describe in words, let alone a review, but if you watch it, think of it as a free form musical, visual essay on what it means to be young and influenced by your environment as you come into your own, and whether that effects you negatively, positively, or downright disastrously, as illustrated here.

25 years ago in an affluent Detroit suburb, math teacher Ronald Lisbon (James Woods) and his wife (Kathleen Turner) have five beautiful girls. The neighborhood boys led by Tim Winer are all fascinated by them. The youngest Cecilia (Hanna Hall) tries to kill herself. Psychiatrist Dr. Horniker (Danny DeVito) tells the strict parents to let the girls interact with boys. They throw a party for the girls but Cecilia throws herself out the window impaling on the iron fence spikes. Father Moody (Scott Glenn) tries to comfort the family. Cecilia haunts everybody. Lux Lisbon (Kirsten Dunst) is the most outgoing and catches the eye of hunky Trip Fontaine (Josh Hartnett). Lux and the sisters Mary (A.J. Cook), Therese (Leslie Hayman) and Bonnie (Chelse Swain) would always hang out together. After a night out, the girls are kept inside with little outside contact.Sofia Coppola brings a floating sad mysterious moodiness to the movie. She creates an unique dreamy vibe. The girls are fascinating but like the neighborhood boys, they remain a mystery throughout the movie to me. They feel like something imaginary that one can't get a hold of. That is very fascinating but after awhile, it's also very tiresome. We are forever outsiders looking in. I love the music, the mood and the style but I still want more.