The film is both pleasant and uncomfortable to watch. If you were a teenage girl, you will feel sorry for yourself at this tender age and miss that very atmosphere. Interestingly, we will never learn anything from the lives of these girls, because the whole story comes from the faces of boys-neighbors who sexualize and objectify the sisters, even when they are obviously suffering.
I remember myself as a 14-year-old when it was difficult to define my place and role in the world. Parents and teachers tell me that I am still a girl, and boys and idols beckon to behave as an adult and fatal girl. It is difficult to find a middle ground. Pressure on both sides literally destroys you, that you decide to keep yourself unique rather than accept the demands and adjust.
If you haven’t, you’ve never been a thirteen-year-old girl.
Sofia Coppola can not be attributed to the brilliant directors. But she is a good original director with her creative style and handwriting. Her films leave an aftertaste. They seem to hint, tease the viewer, whisper in his ear: “In fact, I am a deep film.” Not as simple as it seems. I have hidden meanings / additional ideas / riddles. Think and you will.
This impression is made by “Difficulties of Translation”, “Marie-Antoinette”, and “Virgins”.
Is that really true? Or “the king naked” and before us really simple films with simple plots, in which only well created atmosphere and mood? Perhaps every viewer answers this question for himself. But the fact that such an impression is created speaks in favor of Coppola's films.
One more thing to note. In all cases, whether the films of Sofia tell about some sad and hopeless situation (like the Difficulties of Translation), whether there is a drama or even a tragedy in them, they always remain some light on the general impression.
So, about "Virgin suicides."
Many viewers rightly complain about the understatement, vagueness of the exposition and characters in the film. Do parents treat girls too harshly? No, you don't see that in the movie. In literature and cinema, there are many stories with much more obvious and vivid images of controlling parents, cruel parents, religiously fanatic parents who mutilate their children. The lives of the girls are quite prosperous here. We are not shown excessive religiosity of parents, nor excessive control (up to the incident in the second half of the film). Girls have their own rooms with a bunch of typical girlish trinkets, favorite records, they paint their lips (and not secretly from their mother). For a moment, it seems that in their long, typically puritanical flower dresses, they will be very different at the party from other girls dressed much bolder - but no, the rest of the guests have the same style.
We do not know anything about the characters of the girls, this single blond “organism” of five sisters practically does not show feelings and remains a mystery. But it's understandable because the story is told through the eyes of the neighborhood boys, and that's all they see. Stop! This is probably where the movie comes in.
Yes, the sisters are shown almost as phantoms. And a number of small oddities in the plot, and the reaction of the inhabitants of the city to the fate of the girls, as it were, leads the audience to the idea, are these girls and their story a figment of the imagination of these very neighborhood boys? The game they were playing? A fairy tale-fantasy, which then with them all their lives, as inextricably linked with their childhood?
Everything would be fine, and this version would work. But both her and the option of real girls and their tragedy ruin one thing. These neighborhood boys are very unreal. They're like phantoms. At this age, four boy friends are very polite, quiet, dreamy. There's nothing boyish about them. And it would be logical if a boy with a similar character, who wrote a story for himself about neighborhood girls, and played it for several years, were alone. And he'd be the only one to remember it sentimentally years later. But somehow it is not very believed that randomly from the neighbors on the same street can get as many as four modest, melancholy and sentimental boys, whose interests and reactions would rather suit the girls.
Or it was necessary to show why these boys in the most bullying adolescence appreciate these sisters. Show them their common games as children with neighbors. Show how these blondes differ from other girls in school.
So, in my opinion, it is not the unnaturalness of the girls and their families, but the unnaturalness, unviability of the boys telling the story that makes the viewer’s brain stumble on this film.
At the same time, the film is very good camera work, color scheme, frame construction. When caught simultaneously in the frame of all the sisters, they are very carefully placed in space as on a beautiful postcard. A good idea with trees – here it is, the very hidden meaning, however, quite understandable, not requiring the viewer to be seven inches in the forehead.
And the “message” in the film is quite clear to the mass American viewer, which he (the American viewer) was satisfied with. “Parents, school and friends, be attentive to the teenagers around you, they may have suicidal thoughts for no apparent reason, such a difficult age.” They've had enough. These are sophisticated Russian viewers, brought up on Tolstoy and Dostoevsky, all the time looking for something deeper.
7 out of 10
While typing this, looking through a film search for the name, I saw that the same woman was directing The Difficulties of Translation, a film that I didn’t really like and that I didn’t watch until the end. Well,
The mysterious closed world of a religious family. The penultimate word cannot be avoided, but it also brings a touch of generalization, objectification, which I do not like. I do not avoid it on the grounds that I have relatives whose ideological attitudes I find similar to those of the mother of a fictional family. This turns what I saw into a personal, not to say, tragedy, but at least a story, correlates with my memory text.
In the picture, a huge number of unfilled lacunae, providing space for independent performance of a creative act, intercourse with a narrative. It is replete with the harmony of frames and sounds, angles and dead silence, the deadness of which for me is rather the key to the positive beginning of the impression.
The silence is great in "Only Lovers Survive", the first series of "One of Us", "Stranger than in Paradise". She is the main character who fell in love with Jarmusch, the majority of whose films are on this short list.
In "Virgin Suicide" she is not, to my surprise. The film also lacks abundant conversations and reflections, the inner world of the characters does not scream, but recites within their own rooms, either merged at the end into one, or initially not extending to large square meters. He speaks the language of music, the language of vernaculars and primitive epithets.
I think the hosts of the unsaid create the sensation of sound waves.
Was there anything to say?
- The unattainable horizon for the viewer-creator is duplicate.
What did my suicide virgins inspire? Not necessarily. I didn't shake hands with them, I didn't shake hands with them, and I didn't shake hands with a bunch of guys watching the heroines with excitement. Just standing behind. Maybe clumsily and unintentionally touched some specially bulging object of the interior, maybe touched the sleeve of the shirt. They're not about me.
But they do exist. I believe them.
They also did not confuse my face, did not make me blur in a snide smile, did not squint my eyes. Orlando, for example, is perhaps a more egregious, meaningful picture, but in me it evoked an inexplicable disgust. Not a bitch, not a hitch, but a bad heart. I found Virgin Suicide less sleek, perhaps because of its advantages for my viewer.
Doctor, you have never been a thirteen-year-old girl.
A lot of people don’t understand the meaning of this movie and it’s a shame. It's a beautiful movie. First, very aesthetic and beautiful. I really like how the camera stops at the personal belongings of girls or the rays of the sun; how the predominantly warm tones interact with the cold. This is a beautiful picture of this movie that is good for the eye. We repeatedly see the girls' room and their personal belongings close-up. This suggests that girls have a very rich imagination and deep inner peace. They are like the bright sun, and the sun is a symbol of childhood and innocence.
Boys with curiosity look at the mysterious sisters and admire them. But were there people who tried to touch at least one of them?
In the beginning, we see the mother of the girls dismissing the youngest, not wanting to hear about her frogs. I really feel sorry for this lonely child. We do not know the background, and most likely, Cecilia is a very difficult girl with a delicate mental organization, which lacked attention, lacked communication with peers and just parental affection and love. So that someone could hear about her frogs.
Parents of girls are indifferent, callous and cold people. They don’t care about the lives of these cute girls who need dancing, dates and music records, not animal TV shows, curfews and knitted cardigans in the middle of summer, so that the dress doesn’t seem too open. They wanted to make mistakes and learn from their mistakes, but parents felt that it was their duty to shield their daughters not only from mistakes, but also from the outside world as a whole, never realizing that protection was needed from themselves, not from the world. No one has even tried to figure out what is going on inside these bright souls. What they want. And parents definitely love their daughters, but not the love they need.
And I certainly don't support the outcome of this sad story. The ending of the film is a kind of protest. Protest against parental indifference.
The film touches on a very difficult topic, a topical topic on which you can not close your eyes. The moral is quite simple and obvious - to be closer to each other and to take an interest in the lives of children who so badly want to be heard.
A film that doesn’t say much, but plays perfectly on the senses.
Today, having seen a wonderful El Fanning post on Instagram about the anniversary of this film, I decided to arrange a movie evening for myself, the name seemed catchy, and I heard about this film before. So I’m writing a review from 2020 (in a pandemic, scenes with completely non-self-isolation of girls look especially painful).
Many films and TV series have been viewed about suicide and about teenage suicide in particular, but this one is probably distinguished by the numbers - the number of suicides and the age of the youngest girl (at 13 I never thought about suicide, my heart breaks when you start thinking about what should be going on in the soul of a child to think about it). But apart from this fact, the film does not shock, does not cause attacks of uncontrollable tears, does not make you pause and scream at the screen from overflowing emotions, although it would seem that I am an impressionable girl, and the theme of the film is graceful. Does the film lack the courage? Maybe. This is how we usually see other people’s lives. Pieces. Fragments, thanks to which we think up the full story. It seems to me that this incomplete disclosure of the girls’ characters (Lux and Cecilia are somehow distinguishable from the rest), the lack of explanation of the mother’s motives, the strange behavior of the father makes the story even more painful and oppressive.
But, my God, what a bright and inspiring video. Especially in the beginning. I never thought I'd want to visit such an old America with terrible men's hairstyles, strange clothes and some impossibly beautiful sun in the leaves of even sick trees. Also a huge plus of the picture is music. And not only because you want to listen to all the soundtracks to the holes, but also because it is perfect for moments. On the stage of the party in the house of the promising future actress, goosebumps unironically ran on the skin.
You can discuss for a long time what the film wanted to say, what the parents are wrong, how terrible other adults look, how terrible it is to die in 13-14-15-16, but all these conversations will be obvious, at least for most.
I just want to tell you how the film affects the emotional component. Without knowing English, you can turn off the subtitles, not read the description of the film, not dissect the composition of the frame, not look for the actors to play convincingly enough, but just watch, listen to the noise of foliage, breathing and music, and you will understand everything. It'll be longing. But such a pleasant-cinematic longing. Which I hope will be in the morning, maybe even earlier.
Do you think the film lacked depth? It was probably not enough.
General impression: Take the most boring film, shake and on the output we get something incomprehensible, melancholic and impossibly tractable.
Sitting down to watch this movie, on the advice I was already going to tune in in advance to what I did not want. But I was assured that this is an incredibly interesting, slightly (!) melancholy movie. Okay. Interest was really, in the beginning, and then lost curiosity about what was happening, I resigned to the fact that still this product smells like brown slurry.
The problem with the movie is that it is absolutely... nothing. There is no problem, as it is not clear why this “masterpiece” was shot. The most boring narrative tries to jump like a clown through the circus arena. Falling into one topic, then into another, clumsy focusing on the characters. Although wait, here at the beginning they talk about 1 girl (a total of 5), then the main part of the film goes to a girl named Lux (Kirsten Dunst), and here we see the first love, loss of innocence, puffs of cigarettes and a stupid plot. From the title of the picture becomes clear the whole meaning, so it is not a spoiler, but how can you so ineptly portray death without focusing on the characters. Talking for 20 minutes about one girl, then Lux, and everybody's dead! Nice ribbon! Just bravissimo!
I do not want to sympathize with the heroines at all, they are as dry and lifeless as the strange title of the film, it is better if the youth horror was called so, if the drama, which was so juicy poured on the surface of the film, forgetting to deepen and concentrate. About the motives and actions of the characters, I generally remain silent, not only that a vague explanation, but also transitions are disgusting. The characters of the girls are not revealed from any side, do not even give a hint of their lives. The main part of the behavior of the heroines we see through the words and thoughts of the neighborhood boys who say so boring about it that the film sags from the uselessness of dialogue.
What does the creator say? That there are strict parents? That youthful maximalism sometimes goes beyond emo? That having sex on a baseball field is a bad idea? What does the movie mean? Nothing, there are films that do not carry anything, no bad value, and waste time for this - lousy business.
Pluses in the film is an acting game. In the frame, everyone looks harmonious, no one is crooked. Special attention Kirsten Dunst, young and talented.
Should I watch? Of course not, it's time to waste on a boring dummy.
Repeatedly wanted to watch this film, but everything was postponed to abstract later. and now, after meeting, I realize that we are ripe for each other, and perhaps it gave me a full sense of taste and brightness: the image of a white young maid - embodies beauty in its heyday, untainted purity - the brightest association.
The accompanying image is the suppression that cuts off the wings of the living potential, the coldness, cruelty and imperfection of the world with which girls come into contact.
The story here is conducted from the lips of guys in love with girls, their reverent attitude explains such a sensitive narrative, piercing, and at the same time easy. The monotony of a series of scenery that have no true meaning in people’s lives, among them nothing appears distinctively. Only that sincere life, which is in virgins, contrasts with the falseness and dullness of that environment. The irony with which the narrative is imbued is funny and sweet, and shows people’s behavior as it is.
I liked the short storytelling.
Visually - a very beautiful picture.
Of course, not all scenes of the film fit the above (I want to weaken the idealization), but I made a general impression of the best memories.
Sweet yearning.
Youth is irretrievable, like the bitterness of the loss of a loved one. Feeling is always blind, just enough to be completely wrong. It is a pity that you have to spend beautiful moments alone. But loneliness is better than nothing. Loneliness is better than suicide. I don't remember the first time I thought about him seriously. I remember what my father said. "Suicide is the choice of the strong." I didn't take it seriously then. Oh, no good. It's sad to live life knowing along the way that he was always right. Psychoanalyst to the studio. When I met Coppola's Suicide Virgins about five years ago, I was somewhat surprised. How could such a sensitive and touching creator choose such an answer for an unfinished question?
I couldn't figure it out until this morning. Saturday morning doesn't start with coffee. And I was so blown away that it was a pity that her films were gone. There are no revisions left. Maybe they haven't been seen yet. Damn society. Makes you suffer when you're just a little different from him. When you play padla by the intrusive rules of a ridiculous game. It hurts to choose life every time. Choice of coward. It seems like there might be a day, maybe an hour, when we're lucky. The illusion of free fall in a closed two-dimensional system of unknown coordinates.
The movie is beautiful. A little more than a word is beautiful in amazing execution. Let his chips take a bite or two. It doesn't negate the point. An indignant look at the rotten foundations. How you want to live and not survive in a war invented by others. But this world is always within us. Or those looking at us. As they watched. For them, this sad seal is only an echo of their unfading illusion of immortality. Just the characters in their story. It does not matter that life is equal in every senseless case. Suicide virgins to the end. Suicide virgins are no longer virgins. Already.
Coppola succeeded in doing what American Beauty, as I understand it, wanted. Objection, not challenge. And without Kevin Spacey. Lots of pinpoint blows in the breath and all on target. Don't forget to breathe. The soundtrack, as always, is delightful. I think it's the first role where James Woods is a big fan. Kathleen Turner, it's hard to get her out of your mind after California, but she's a fire. Discarding a high-profile suicide, you can easily get five stories of destinies crippled by idiotic routine. How to raise children after this film?
The worst part is not just the movie. Let this minimized hypertrophy of what is happening, just a cozy screen for the author’s undisguised monologue. Let carelessness coexist with detachment. But there's no answer as it should be. Because he can't be. Everyone decides how to make a mistake. And I wanted a direction, but that's my taste. Got it. Return, do not forget, to get a taste of the passing life again. It is worth nothing, but innocence is priceless.
Sad. Depressive. Unproven. And above all, it's unsaid. Here are the key words to characterize this film. Cinema in the genre of some healthy, inherent in most forms of voyeurism, when we watch from the sidelines for a mysterious and tragic story, in this case the story of five sisters. And the further we observe, the more questions arise. Remaining invariably unanswered, and even a hint of it.
Why did the Lisbon sisters do this? Why not leave the future, the hope, the coming changes? What did they fear about adulthood on the horizon? What moved them? Not a hint.
It is obvious, of course, that there was an unhealthy atmosphere in this family, presumably of a Puritan nature. Of course, it is clear that these parents paid little attention to their daughters as individuals with their feelings, needs, invariably necessary human warmth and support. But on the other hand, a lot of people live this way, badly, joylessly. But somehow they prefer this kind of life to death. They hope for something, they believe in something. What was so special, painful, unbearable in the life of five sisters? Especially ahead very soon, a couple of years, and nothing prevents to break free. Or maybe it was freedom that instilled in them such fear, incompatible with life?
In any case, very sorry for these cute pretty girls who could still have, but who chose to abandon any future. So what in name? What robbed them of hope? This is the obvious and insoluble question that any viewer should ask. Here we go. Loneliness? But there were five of them themselves, and a crowd of neighbouring boys almost idolizing them was shown. You can only dream about such loyal and selfless fans in real life, right? Maybe the inability to communicate with people so that they feel that they are accepted, understand that they are not alone? Inability to open up to others, inability to ask for help, inability to give someone a particle of heat and excruciating pain about it? Based on the name, the fact of virginity sisters? It is ridiculous, and in case it would be the goal to keep it, and lose it. The question of whether or not to be has nothing to do with either. And if there was anything to do with it, there should have been some hint of it. But no. Especially not clear about the beauty Lux, who was so attractive, had success with boys, and clearly was in love with life, but how else? Who would choose life without thinking? By the way! So why a collective decision and not a personal one? And more importantly. Was there selfishness in their actions? Formally, yes, but actually no, the sisters just couldn't feel that anyone could care. Why did they never learn to feel loved?
In any case, all of the above is purely speculators, because in the film there is no hint of a motive. We do not know the true character of the sisters, except for Lux, nor their relationship with each other, nor the relationship between them and their parents. We, like the neighborhood boys, are watching from the outside, literally through the cracks in the fence. And like them, we sympathize with these girls, but we don't understand a damn thing. We are saddened with them for this unjust, untimely loss.
Beautiful, sad, and incomprehensible movie. For those who do not think, of course, meaningless. For others, this is a challenge, a question to which there is no objective answer, but to which everyone, after reflection, will find objectively true for himself, based on what is closer to him, the theme of fathers and children, the theme of loneliness, the interpretation of everything according to Freud, or something else.
I can't tell if it's a good movie or a bad movie. I can’t say that his lack of disclosure and understatement is his drawback or, on the contrary, a key feature. Perhaps, because of my superior wisdom and intelligence, you will understand this film better. I'll believe in you. The film is interesting, unorthodox, personally touched me.
This is a review of just the viewer, not a special connoisseur of cinema as a genre, just my personal observations about what I saw.
I think when you’re making a budget movie, it’s very important to make a film about something more general than the stated theme to make it look. I don’t believe that the director is working on the topic – rather, he is looking for a presentation of material that he likes and succeeds.
What's this movie about? I think it's a film about America, about American teenagers, maybe the American South -- a land of boardwalks, big trees, a time of fading summer, the waterbacks of football teams, limousines run by practically children. Strangely, but it is shot almost European - America in the film genre this usually looks easier - as we say in the film. What is eating Gilbert Grape.” And the music of AIR is a European creation.
These very recognizable symbols are already on their own, outside the plot," look, resonate with our subconscious. Coppola has one very strong, I think hereditary trait - even the most nightmarish plots, scenes she shoots classically detached and large-scale; I see the continuity of chic mafia festivities in the Godfather, in the shown school evening. Even if everything is bad - everything is fine on the screen, there are no cracks, and therefore the film does not go into the author's or any other movie - it remains the movie that is watched with pleasure - and rightly so. A film is an adventure and entertainment, that’s what we watch.
A separate story is the correct selection of actors, and the phenomenon of one hundred percent handsome Fontaine, played more than authentically and sweet song AIR. You are my Playground Love - you are my love found on the playground, already guarantees us a slight intoxication with the past, the light, and now you are wandering in your subconscious.
Therefore, it seems to me that the director is not up to the plot, very strange, but against its background, old as the world and recognizable story is played. And banal, but done well, without punctures.
6 out of 10
The strange title, the unusual format of the narrative, the originality of color and musical accompaniment - with this film Sofia Coppola was remembered as a separate independent director, and not as the daughter of Francis.
A long time ago, when I saw this movie for the first time, I kept a lot of unanswered questions in my head.
The striking lightness of this tragic and yet luminous story leaves a hole, an empty space inside: no answers, no understanding, but images, only images, dance inside a metamorphic memory.
In 1999, Sofia Coppola finally and irrevocably became famous, winning, moreover, the attachment of the audience to her clearly drawn author's style.
At first, the story looks like a teenage drama - about school years, about adolescence, about curious boys watching girls.
From the beginning – to the very end – there is lightness, tenderness, carelessness, as if nothing had happened at all: in the music of the Air band, in pastel colors, in this – so familiar – Coppolov’s sun through the branches.
And the oppressive sense of misunderstanding and rejection of what is happening remains somewhere inside, below, under the skin, under the floor, in the walls - it is, but I do not realize in his presence.
In the center of the plot - both the book by Jeffrey Eugenides and the film by Sofia Coppola - the life of the five sisters of Lisbon, the weather is 13-17 years. They live under the yoke of a religiously fanatical mother and with the shadow of a father who has already lost the right to vote. They can't go out late, and they can't go out with boys. They can't wear makeup. You can't wear open dresses. You can't sunbathe in a swimsuit. What can they do? Well, going to school. Lessons to do. Play board games with each other and listen to music.
And they would like to live. If, of course, they will...
The story is told on behalf of (from several faces) guys who were familiar with the Lisbon sisters and seem to have been forever fascinated by them. We then observe the memories of boys who have grown up, then we see their reaction to events in real time. But to give the viewer any explanation is not the goal of the director, so you have to watch from the sidelines, covertly, and draw your conclusions about what is happening, studying the lives of girls in the prime of tender age.
And the questions, meanwhile, arise immeasurably. Even after reading the novel by Eugenides, I was left “at a broken trough” – the bewilderment, surprise and oppressive sensation of the allegedly unsolved crime are still felt as a residue. However, the story is not about suicide, but rather captures a specific period in the lives of several teenagers and their complete isolation from the outside world. There are almost no adults in the frame, and the overall picture looks like a real memory, not a fictional story. That's why it's so catchy.
Well, in general, this film is the best way to get acquainted with the work of Sofia Coppola plus a great opportunity to admire the very small Kirsten Dunst and almost the same small Josh Hartnett.
9 out of 10
I first met Sofia Coppola when I was 19, if I’m not mistaken. Yesterday I decided to dive again into a masterpiece called “The Virgin Suicides”. The atmosphere of the film is just insanely beautiful. You take a dip in '70s Michigan. State industry is fading. A quiet street, a lot of greenery, warm wind, an atmosphere of general calm. And all this to the music of Playground Love - with its motives you will have to experience the whole film and she wraps it in her charm.
I like in the film the ambiguity of the symbol and views. Blinking images of girls, sparkling smiles, laughter. There are no sophisticated dialogues, a simple narrative on behalf of one of the boys who were impossible in love with 5 enigmatic neighborhood girls. What I love about this movie is the first feeling. Girls raised in strict Catholic traditions, a strict mother and a father who clearly wanted him to have boys. There is no love in the family.
What could happen to 5 girls who committed mass suicide? Indifference of parents, strict upbringing or first love? There is just an understatement, someone else’s soul is dark.
It's that understatement in every dialogue, in every scene that makes this film so special. After viewing remains a pleasant melancholy and you can not help thinking about it for a couple of days.
We just want to live. If we're allowed, of course. Jeffrey Eugenides, The Virgin Suicides
Sofia Coppola's first major directorial work. And you know, she was only 27 when she filmed it. It’s such a powerful, serious job.
Powerful not even because there are stars involved that need to be curbed and directed, and not because the film is made at the highest level, the highest quality. This is a powerful film about the inner psychology of the story itself.
Acting game, characters, plot, denouement, mood of the film - everything is, everything is great. The truth for some, the story itself can be a bit depressing. I have personally watched this movie several times. I highly recommend to anyone who is not yet committed!
It is not clear how this film could appeal to anyone who did not see the novel in the eyes. I don’t know how much he likes those who read the book. After all, although Sofia Coppola in his script fairly accurately follows the plot of the book, the film in the end leaves even more questions for the viewer than the novel for the reader. The most important one is: why did what happened? And if the reader most often has his own answer, then the viewer remains puzzled: they say, what was the tragedy?
Both in the novel and in the film, we see what is happening through the eyes of boys living next door to the Lisbon family. And no one – neither the reader, nor the viewer, nor these characters – knows thoroughly how the life of this family works, what their relationships are, what is happening within the walls of their home. But even watching from the outside, you can learn a lot of interesting and revealing. Among these observations were many key details of the lives of the Lisbon sisters, which the director for some reason decided to omit. It changed everything from the characters (especially the mother) to the genre of the film. Because in the film there is no such element as suspense. Maybe this is the way to achieve the effect of surprise? But we are told from the first sentence how it will end.
It’s a shame because it could have been a really good movie. Prerequisites for this are: directing, acting, camera work. Everything is spoiled by the plot "hole".
P.S. Some people are surprised by the title of the film. The reason is the same: the book mentions the song "Virgin Suicide", the film does not refer to this.
Sophia and her childhood favorite movie again. I don’t know where I got them all from, or how I managed to watch them, but it still doesn’t detract from the fact that the film is beautiful... in a special, different sense.
The film tells about five girls (sisters) who have dreams and aspirations, a thirst for life, to know, kindness, mercy. Like everyone else, they want to fall in love, make mistakes, get to know the world as it is. Everyone has their own eyes, but they have one thing in common: an irresistible desire to get out of the clinging hands of a mother and father, wary of anything that could affect their daughters.
The family strangles them, does not understand how they feel, forces them to hide all their thoughts, suppresses all attempts to get invaluable experience of their lives.
Often parents have no idea what is going on in their children’s heads, distort reality, want and believe in a fictional ideal relationship with their children, behave selfishly, impose their will, subordinate free, clean, bright heads with their vile, seeming right ideas, which are rejected from the principle of confrontation.
The souls of girls protest against violence against the soul and worldview and, in order to be free, commit violence against the body.
Cruel, sad, sad story, showing that mental anguish can take a variety of forms, and can hide inside, but these torments will still burst out at the most unexpected hour and in the most unexpected way.
The inability to resist pressure anymore breeds aggression or apathy. Neither is worthy of being a permanent human condition.
Take care of yourself.
A strong, stunning debut by a strong director. Sophia, I take off my hat for not being afraid to talk about what is important, not afraid to climb into the hidden corners of the hidden and show them.
10 out of 10
The world of adults so and not able to accept the problems of adolescents.
The title of this film is absolutely untrustworthy. It seems that before you another low-budget thrash about blood, intestines and sex.
However, after you still force yourself to abstract from such a non-trivial, but so accurate title of the film, you will get a wonderful drama that should be shown to absolutely all parents.
I am absolutely sure that all teenagers go through a period of life in which they seriously think about suicide with all the ensuing consequences. For some, it is a way to communicate with misunderstanding parents, for others – a way to attract the attention of peers and thus show their mental superiority. But for the third – this is the only way to escape from the world crumbling underfoot, which never had time to build.
It is about these people that they talk about in this film.
The atmosphere makes you remember the most bitter and happy moments of your youth. Everyone will find something here.
The inspiring feeling of first love and the horror of first breakups.
Parental cruelty and perplexing views of old-school people.
First encounter with death. Not somewhere, far away, but in the next yard.
The phrase “Our house was just full of love!” will ring in your head for a long time.
I doubt that my review was informative, but it was written under a very strong impression of the film and in a hurry.
Excellent picture. Revise and revise.
I would have translated this picture in such a way that there were not all these omissions, meaningless, and empty discussions about the fact that one of them has already lost what a girl is supposed to keep before marriage. In general, people, as always, look at the wrong place, do not look at the root of the problem, discussing completely irrelevant details.
How can it be considered innocent that has nothing to do with physiology?
Innocence is just a psychological, spiritual concept. This is especially true of consciousness. The painting by Sofia Copola is a beautiful description of the life of the 70s.
The tape is so atmospheric that each dialogue or actions of the heroes harmoniously and organically fit into the general series, in the form of the same town, musical accompaniment, the style of boys and girls, the beauty of sunsets and sunrises, the change of seasons, etc. Even ordinary silence perfectly conveys this state of innocence.
Innocence here with a touch of grief, pain, and drama. Incredibly light, beautiful, exciting, thrilling, and inspiring film, in which beauty is intertwined with tragedy and cruelty, pain with laughter and mesmerizing smiles, trouble with indifference and cynicism.
We have been shown wonderful years in the lives of five sisters, but on the other hand, these years are very difficult and full of trials. These tests are related to the transition period. From youth to adulthood. Finding yourself is an incredibly hard thing. And if you consider that parents do not care about what is going on inside you, and what you want from life, it is simply unbearable.
Personally, I noted two bright characters in this picture. A charming Cecilia who has no place in the real world. Dreamy, and insanely vulnerable. She understands much more than many of the inhabitants of this town where life is stuck. It was she who killed herself, and caused a wave of interest in the family, as well as a wave of an epidemic. Like a virus, she launched into the air her sadness, despair, the realization that life is unlikely to change for the better, and it is better not to look for happiness.
In general, one moment is very indicative when a daughter, after a suicide attempt, and hospitalization, tells her mother at home about her passion for frogs. To which the mother with an indifferent smile replies: “I don’t care about your frogs!”
The second character, very bright and interesting, is Lux. She's the opposite of Cecilia. She laughs, jumps, smiles a lot, and she seems to be having a lot of fun. Rebel, with a light in the shower. And when she fell in love for the first time, she could escape and transform herself from an innocent girl into an independent woman. But the circumstances were different.
Passionate, but at the same time gentle. Bright, daring, but at the same time doomed to suffering, worse than the rest. Lux can challenge, but how to fight she absolutely does not know. And yet, her antics are probably also a way to draw attention to your state of mind.
Other sisters are more like conformists. Or their characters are poorly spelled out. But they suffer in their own way. Not as loud, crazy, and defiant as Lux. And not like Cecilia.
Adolescence is when in the morning you want to jump to the sky, and in the evening you may want to open your veins. This is really a difficult time for many. But for four girls in Lisbon, this period was traumatic. For their sister chose to leave this world.
In general, the wonderful thing about this film is that everyone can learn something for themselves. For example, my neighbor, seeing the picture, said the following: “The movie is good, and the main thing shows that you girls do not want to like simple positive guys, but chase all sorts of cool handsome scum.” That's a movie like that!
10 out of 10
"Obviously, Doctor, you've never been a thirteen-year-old girl."
It is with these words that young Cecilia Lisbon (Hannah Hall) answers a doctor's question about the reasons for her suicide attempt. Congratulations, Cecilia, you're just Sherlock! The doctor was not a thirteen-year-old girl, and yet not every girl at this age cuts her veins. So what could have happened to young Cecilia? What made her do that? This is clearly not just a way to attract attention, because soon she makes another attempt to take her own life, and this time it all ends sadly. Thirteen-year-old Cecilia falls straight onto the iron bars, leaving her parents and sisters shocked and the viewer bewildered. Why did she do that? There are no answers. Only guesses.
Speculation is made not only by the viewer, but also by a group of boys living next door to the Lisbon family. The guys entertain themselves by watching the lives of five sisters (four, shortly after the film began). These girls - pure, innocent, blonde angels are the object of increased interest among the neighbors. After 25 years, one of them will tell their story. The audience does not know who it is, we just hear a voice behind the scenes. This very voice at the beginning of the film warns that there will be no happy ending - all the sisters will commit suicide.
At first, this is what keeps the screen intrigue. Why did the four girls decide to follow their younger sister’s example? Let me tell you that girls’ lives don’t seem so bad. And perhaps it would have ended much better if the parents did not add fuel to the fire.
A few words about parents are pious people who regularly attend church. I have no doubt that they love their children and wish them well. But perhaps this story would not have had a tragic ending had they not crossed the line in educational measures. Punishing a child for wrongdoing is natural for parents. But this punishment must correspond to the offense. What reasonable person would put their daughters under house arrest because one of them (not all of them) spent the night elsewhere? What parent wouldn’t let their children out of the house even to school, believing that home is the only place they’d be safe? The outcome of this overprotection is deplorable.
We can only guess when the girls decided that leaving their lives is the only way out. They did it out of desperation? Was that a protest? Was it an attempt to punish harsh parents? Or was it a desire to reunite with a dead sister? Maybe all of the above together?
I feel sorry for my parents in part. They may have triggered the mechanism that drove their children to suicide, but even with all the severity of the punishment, the situation of the girls cannot be called disastrous. After all, the sisters had each other.
The movie is definitely worth watching. There's a lot to think about. There's a lot to learn. For example, how not to raise children.
Suicide Virgins is an aesthetically appealing film, but very strange. It annoys almost everything, but still want to watch.
The girls are annoying. The movie doesn’t feel like they’re under pressure. Parents are somewhat strict and suspicious of their friends - what is overwhelming here? In my childhood, adults in general shamed teenagers for early love - I do not remember anyone committing suicide.
Here's a picture of the situation. Downtrodden girls, a strict mother, but every recap I fail to feel it. Girls are not downtrodden, internally free, flip through women's magazines, live a very ordinary life. Subsequently, one of them calmly violates additional restrictions and muddles with almost all the guys around. If that's possible, what's in the loop? There is a feeling that the ladies have eaten. Even not perfected art reflects life, and in life people with difficulties such sophisticated, not containing a pronounced formative link emotional conflicts do not suffer, not before. All this torment from a good life, stagnation. But to scold Coppola for telling about the problems of the youth of the “decaying West” is not worth it – this also happens, which, however, does not explain why this seemingly contrived grief should be empathized. I don't feel like it.
I do not believe in the value of life and do not condemn suicide, I am annoyed by the very nature of girl trouble. “We are unhappy because they keep us and don’t let us go.” In the book Eugenides may be the motive “we are not loved, we are indifferent”, but in the film it sounds deaf, so does not leave the feeling that girls want to settle scores only because of the lack of regular sex at 16 years. Plus, the title of the film focuses the viewer’s eye on this side of the deprivation of the girls of the Lisbon family.
But they are, as they say, girls. They always have everything difficult and they are very vulnerable (all except Muslim women, who at the age of 13 already have all the life and care for their husband, sometimes quite elderly). And by the way, suicides are also rare. This is due to a lack of personal complexity, probably.
But young Vaginostradals infuriate not lightly, but strongly. They, half-asses, have nothing more to do than follow their classmates lovingly? As if mocking their behavior, the sisters’ father tells the boys about the technique and victories of English soldiers, who at the time of hostilities were little more than experiencing surges of hormones. But the boys do not feel any injections, continuing to read in the diary of the younger girl about the victories of the beautiful sisters over everyday totalitarianism.
All this is ridiculous as girl dreams, but there is something valuable in The Virgins. It's a conveyed impression of summer and nostalgic longing. Let stupid and cowardly guys yearn for spoiled girls, the feeling itself is important. In my youth, the same song of the band Air sounded, and there were girls around who dreamed of a beautiful life and dates. It was away from me, but part of my youth. That’s why I’m probably revisiting Coppola’s division, because I like this illusion of returning carefree time, when it seems that someone, and I definitely do not waste my life. And my thoughts, like the picture in this film, are as detached, cold and dreary. Although it’s obvious to me every time that Virgins Suicide is a blank movie.
Despite the telling title, "Virgin Suicides" is not a film about suicide per se. This movie is primarily about an unhappy family hiding under the mask of well-being and normality.
So, in the center of the story is Lisbon, whose reputation as an exemplary Catholic family was shaken after the youngest of the five sisters Cecilia attempted suicide. Naturally, many residents wondered how this could happen in such a prosperous family.
Is this family that good? Is there a good mother who doesn’t care what her daughter is trying to tell her? And is it right to control every step of your children, not letting them out of the house and not allowing them to communicate with peers? And even the father, who at the beginning of the film does not seem to be the worst guy, later manifests himself as an insignificant and apathetic creature who does not seem to think at all about the daughters and the correctness of the upbringing that their mother gives them. One cannot ignore the topic of religiosity, which is evident in the life of Lisbon. And it is also impossible not to connect religiosity with the radical upbringing of daughters and once again make sure that fanaticism in all its manifestations is not good.
Isolation from the outside world could not but affect the girls. Their conversations with guys come out awkward and short, they do not know how or what to talk to them. That is, in fact, girls are not socially adapted.
Special attention should be paid to the heroine Lux, in which, unlike the other sisters, there are notes of protest: she tries to smoke, drink, and her communication with young people goes quite far. The fate of Lux, I think, is more tragic than that of the other sisters, because the freedom she did not have, intoxicates her, and she tries everything at once, without thinking about the consequences and, in the end, is literally thrown in the middle of the field.
Many viewers in their reviews of "Virgin suicides" pay much attention to the question of suicide itself. They do not understand the reason for such a rigid method of solving problems. As I said above, this movie is not about suicide, but about a bad family, and suicide here is a kind of exaggeration, used to even more colorfully emphasize the theme of improper upbringing and cruelty to children.
The cast for me in some places did not reach, but the visual range, soundtrack and atmosphere of the 70s left a pleasant impression.
8 out of 10
I watched the film for the second time and it became very interesting to read reviews of it, as the impression is fresh and I love the film madly. Every second review asks, “Why?”
"Why did the girls commit suicide?" I don't understand how you can not understand it, although no, I'm lying, I don't understand how you can not feel it. It is clear that in the film the reason is not pointed finger and in general the viewer, like the boys-narrators, sees the life of the sisters from the outside. We don't hear what they're talking about, we barely see what they're doing. We, like the storytellers, think about it, fantasize. We only see their incredible charms. The heroines are beautiful, mysterious. We only see that they are in trouble, and most importantly, from the very beginning we know the denouement - the name reveals immediately - and we do not even worry about their lives. We wonder why, but we do not get a specific answer, we only get a hint. You could have done something different in their situation, you say. But could such heroines have done otherwise?
Whenever I look, I think about how the sisters planned their death, said goodbye to each other, thought about how to make it beautiful. Maybe I’m interested in this movie because I’m still a teenager. Maybe.
Another question I encountered in reviews: “Why was it to call the boys at the very end?”
I think the girls were lonely.
Did a mother want to hurt her daughters? He wanted to save them from possible harm. But it also took away all the joy of life. Why live a man, except for the joy of life?
The eternal problem of fathers and children is misunderstanding. The first is a misunderstanding between two generations separated by time. The younger generation has a wider scope of permissibility, and the older do not want to understand this.
Second, just a misunderstanding. I remember a phrase from the movie, it was said by one of the boys: “a mother who thinks only of herself.” Did a mother really think about her children? Not at all. She didn't care how they felt. She followed her own selfishness! “My kids are safe at home and that makes me feel good.” The selfishness of pure water... Of course, she could not understand her mistake.
Instead, the girls had only to taste the spirit of youth for happiness. The simple joys of life...
The film is imbued with that spirit. Exciting, timid, sensitive. When you discover the world in its beauty and enjoy these moments of “adulthood”, carefully collect them.
The film is beautiful with its visual component. Oh, those "urban" shots! Which so wonderfully illustrates the torn moments of adulthood. Heroines are like delicate flowers, you want to look at them. Thanks for the atmosphere! I felt it on my skin.
Outside - the dormant tranquility of sun-drenched streets, inside - a cold half-darkness, enveloping an insensitive body pulled from the bathroom. Cecilia didn't die that day, but it would have been better if they had all died at once, this flock of radiant nymphs, a young growth in the courtyard of the Lisbon family, who has no future because his descendants have no future. Cecilia, Lux, Bonnie, Mary, Teresa are beautiful creatures of half-heavenly spheres that are so easy to corrupt, to tarnish virgin purity with dirty prints of coarse paws. Blonde heads, sharp knees, diluted towards the elbow - it would seem that the portraits of the sisters can be described with the same strokes. But no, the lowered shoulder of the suit suit, the leg, pampering under the table, a playful wink and a slightly sharp stroke of the mouth, caressing the candy in its sweetness with his lips ... Every gesture, every look, is like a deliberate provocation, but in fact, another figure in a desperate dance towards eternity.
They all differ in age – five sisters, five steps of timelessness, because they are destined to remain forever young. But what were they really, these spring-breathed creatures? And were there any? Sophia Coppola shows them only in the form in which they were observed by neighboring teenagers, and male teenagers, with all the ensuing, and therefore the story of suicidal virgins is more like a fantasy, a cloud of dreams brought by the wind of inflamed, hot consciousness of youth. As if in an effort to somehow diversify the dull life of a dying town, semi-mythical and semi-prosaic events are born that have a direct impact on the lives of others. Such a combination even suggests the unnaturalness of what is happening, and in the hands of this, perhaps erroneous, impression is played by the deceptive fragmentation of the action that jumps from a certain common history of the Lisbon family to the bright, explosive love of Lux in the school playboy and back, straight into the arms of strict, unsophisticated, unsophisticated frameworks that outline the family boundaries (not) permissible.
Artificial social distance, imposed by blinkered conservatism and stubborn, almost repressive willfulness of the mother, coupled with paternal malleability, plays against the five doomed maidens, quite quickly turning into no less doomed four, which can not break through the viscosity, viscousness of the atmosphere of imprisonment, do not escape from this patchy world. Teenage tightness prevents you from seeing the main thing - the gift that the heroines possess, their freshness of youth and her great carelessness. Therefore, the syndrome of alienation and despair, inspired by house arrest, gradually develops into something resembling a role-playing game - beautiful princesses are locked in a tower, and the neighbors dream of saving them and then go in search of joint happiness. Forever preserved in the alcohol of a cloudy memory, the heroines acquire the outlines of almost sacrificial figures who fell under the pressure of cruel reality. And the truth is that real life in the form of endless compromises and disappointments is too alien to the creation of other spheres. Idealism, inspired by dreamy inexperience, turns out to be only an empty sigh, and all that remains in the end is loneliness in the predawn haze on the playing field of adulthood. A game that proves too difficult for the Lisbon sisters.
Neighboring boys have forever preserved them in their memory in a perfect, ideal form, and the viewer is forced to do the same. Coppola is frank, but at the same time almost sterilely delicate, delineating death with one drop of blood, swaying shoes in the air, frozen in a horizontal figure, as if a father desperately supporting a weightless body is just teaching his daughter to fly. The intoxicating sexuality of the heroine Dunst, who is on a flight of nymphetosis, is demonstrated through insignificant details, as if shots were torn from the general orderliness - a shining glance, a corner of the mouth rising in a deceptively uncertain smile, a glide of the gaze along the tender neck towards the trench between the collarbone ... Touch it with your finger and you will get a shock of internal erotic tension, and it does not matter that its owner is only fourteen years old.
Coppola is stingy on staged delights, but not on visual exercises, and therefore almost the entire emotional component of her debut is transmitted through the frame, the skillful arrangement of actors in mise-en-scene, and only one Lux eclipses everything, because she is the most perfect, the most uninhibited and the most fragile. While the rest melancholy stagnate in anticipation of the end, the sharp wings of the blades of Kirsten Dunst try to soar into the sky, but invariably fall back, towards the mustyness of their home, barely audible neighborly gossip and corroding everything in their path of disease. No wonder the death of the sisters is equated in the film with the death of elms - one died and infected the doom of others. And there is no cure, no salvation, in the shackles which their parents have placed upon them, and which only grow heavier with every false movement in the name of the rebellion of youth. But a little time will pass and everyone will forget about the schoolgirls who killed themselves, no one will remember their faces and names, and only the neighborhood boys will carry through the years their memories, except for which, perhaps, there was nothing ever. There was no Lisbon family, there was no old elm with the imprint of a maiden’s palm, and all the hasty news on the local channel is just a hasty fiction, because except for photos there is nothing in them that would hint at the existence of girls.
Dedicated to a wonderful couch elf.
Cecilia was 13, Lux 14, Bonnie 15, Mary 16 and Teresa 17.
When you’re young, you think you can control everything. Consciously taking your own life is just a way of showing it. The illusion of control. A mind that has not yet grown stronger refuses to believe in the cruelty and injustice of the world around it. And make a choice: step into the void forever.
Sofia Coppola’s masterpiece (the film has every reason to be called a masterpiece) reveals the secret of the teenage soul, gives us, like four neighborhood boys, a look behind the fence that hides the drama of adult children. And the irony is that only these four guys cared about the Lisbon girls, and they were the only ones trying to understand them. Neither the parents nor the neighbors did anything to help. They were just judging them.
The most notable of the sisters - Lux performed by Kirsten Dunst - a character that reflects all the problems of teenagers: unrequited love, parental prohibitions, betrayal, thirst for everything new. Her story is the only one written in the film clearly. But, at the same time, she is the isolation of all not only her sisters, but all girls her age.
This picture is very harmonious. Each element is located in its place. And, intertwined, small particles create the atmosphere of the film, which can not be felt.
This film cannot be told or remembered, it must be felt. After watching, you will probably have a sediment in your soul that will rave your mind for a couple of days. and I am sure that the tragedy of the five sisters will live in your heart for a long time, instilling faith that leaving is not the only way out.
9 out of 10
I didn’t like or disappoint the film, but it left a strong impression.
Such a beautiful musical and video series, vinyl records, a play of light, light dresses, flowers, diaries - all that girls love - as a scenery for tragedy and a mood of complete hopelessness and all-consuming melancholy. The contrast of this film is striking, like rainbow bracelets worn over bandages on Cecilia's cut veins at the first party.
The composition of this film is cyclical, it begins with the suicide of the youngest sister during the holiday and closes with the suicide of the other sisters before the scheduled date.
With the irretrievable loss of a 13-year-old girl, possible happiness is lost for her older sisters. The film’s lack of experience, tears and suffering after Cecilia’s death is discouraging, but it seems to only deepen the depth of anxiety and depression. Five suicides and only one drop of blood - in this beautiful picture of the film.
All heroes cause ambiguous attitude towards them. It shows a society indifferent to someone else's tragedy, only looking for a reason for gossip. The Lisbon family, however, is part of this cynical society, they laugh at a party at the deranged Joe, and only for little Cecilia it seems terrible.
A mother is not an absolute tyrant. After talking to a psychologist, she attempts to expand the social circle of daughters of the opposite sex, inviting the boys to her home, or then agreeing to let them go to a party. The father is not so weak-willed, obviously he has his own opinion and makes attempts to influence his wife.
The relationship between Trip and Lux is one of the central moments of the plot. She runs away from home and is handed over to him after the school ball (this is what girls look for at 14?!), and he leaves her alone after this incident. Why he did this, because she was not another ordinary girl for him, he cannot explain himself, telling about it many years later. At one point in the film, we see him being invited "to procedures" during his story. Where is he now? Perhaps this is a hint that his life has failed?
The “house arrest” of the girls by their parents is perhaps not just a cruel punishment, but a desperate attempt to protect children from the suffering of the outside world, which they saw only in locking them in the circle of the walls of their own home.
Although the boys were the only ones in the city who really worried about the death of the five sisters, they did not love them so sincerely, they were also just looking for entertainment, riding with them in a car or watching Lux through the telescope. The promise to call after the school party was never fulfilled. And they run away from fear as soon as they witness suicide, which is the first time since Cecilia's death, and at the end when all the sisters committed suicide.
The tree to be cut down is an unusual allegory of events. In addition to the fact that this is another teenage protest, the girls stubbornly insist on preserving this tree, “How do you know it is infected?”, “Let other trees get infected, just don’t cut it down.” All four sisters became infected with this deep and hopeless melancholy after their younger sister’s suicide, and all followed suit. The reasons for this act, no one understood what is said in the picture on behalf of the narrators.
The crown of the school ball queen in the last shots of this film lies on the floor in an empty house as a symbol of unfulfilled happiness.
An ambiguous picture, each of the characters of which carries both attractive and repulsive sides.
Beautiful picture, pleasant atmosphere - is this a suicide movie?
One of those rare and bizarre films that you enjoy, despite the fact that the plot and actions of the characters seem terribly stupid. Probably, this is all the atmosphere, which, oddly enough, is not related to the plot. It is rather the merit of the director and the cameraman - the lightness and beauty of the "picture" bribes me: gentle shades, light through the foliage, light light light dresses, beautiful techniques with imaginary trips, postcards with messages and "communication" on the phone through music But these are all details that should be an addition to a good story, and not vice versa.
Therefore, moving away from such a “figurative” perception, you begin to think about the idea and the message of the film. Honestly, I find it hard to understand what the filmmakers wanted to say. Here's Cecilia throwing "you've never been a 13-year-old girl." I'm sorry, but I can't find in my memory anything that happens to us at 13 that can justify wanting to die - I feel worse at 20 than in a carefree adolescence. I was really hoping that we would be given something more to understand the character's actions, but alas, on the contrary, I was only further confused by mass suicide without any weighty (in my understanding) reason. Yes, they were too limited in their actions, but the girls did not even try to change anything - they flowed with the flow, indulging in their melancholy - locking themselves even more into these walls. They didn’t even try to get out of the “cage” – argue, object. And in the end, they were all not far from coming of age, which, in my opinion, would completely solve the problem with the “protection” of parents. Maybe I look at things too practical/realistically and I lack “romanticism” and “subtlety of soul”, but this is how I see the situation – simple and banal.
I would understand if the girls were somehow “traumatized” by the mother’s order, but, first of all, their situation does not seem so nightmarish to me – they were still not absolutely and tightly isolated from the world * before the incident with Lux*, secondly, in communication at school, at the school grade, they all seem to me more than normal and adequate, so I thought strange their sharp change of behavior.
Now about the "incident" with Lux - a typical situation, and no less important. It seems to me that it fully reflects human nature – we strive for the inaccessible, not so, it seems to us that this is exactly the “that”, “that only thing we need”, while getting it, it loses value in our eyes. So with Trip - he saw something different, special about Lux - until she became exactly like everyone else.
On the subject of "and the neighbors didn't remember after a year," there are too many deaths and sad events in life, and if you keep in mind every one of them - especially those that don't concern you directly - you can end up like the Lisbon sisters. So very "poisonous" covered this moment in the film, as for me.
I'm just trying to make sense of one voice-over phrase - "but only that we had loved them ... and that they hadn't heard us calling ..." - the sisters shielded themselves from the outside world - either from fear of being "offended," or simply lost their desire for something else. In any case, this is the window to freedom, to understanding, to “normality,” which they have closed once and for all.
The result: a beautiful video sequence with undisclosed main characters - attention here was paid only to Lux, who still remained somewhat flat, like her sisters.
P.S. You can throw stones at me, but I don’t think it’s necessary to be a great talent for the role of Lux, so I’m a little surprised by the praises towards Dunst.
I just finished watching this, so to speak, movie. I won’t write much because the film didn’t make any impression and I’m more sorry than ever for the 90 minutes of my life.
Everything in it seems to be sucked out of a finger - and awkward crumpled dialogues, and a ridiculous plot, and about the unnatural play of teenagers I do not even want to start indignating - who watched, he will understand what I am talking about.
I didn’t notice any drama here in principle, rather it was a very weak amateurish attempt to make an adult movie. Sophia Coppola focused so much on all sorts of tenderness/nature that she almost forgot about the most important thing - the meaning in the film. In the end, in his last sentence, the third-party narrator put it this way: We have no idea why these girls did this, they are still alive in our hearts, and the city continues to live their lives as if nothing had happened. All. Curtain. That's all morality. Thanks for explaining it.
And the Lisbon sisters separately. So weak-willed, initiativeless personalities, throughout the film could not clearly express at least one of their thoughts. Undisclosed characters, pacifiers, all on one face, except Lux, performed by Kirsten, on which attention was focused according to the idea.
And such a beautiful sound does not fit with such a weak, second-rate film. It is worth watching either ardent fans of Kirsten Dunst or fans of films shot by the daughter of the famous Coppola. Other obvious reasons to watch “Virgin suicide” I personally can not imagine.
2 out of 10
I tried to write a review of this film for a long time, but everything did not work out.
I watched it in 2005, out of curiosity, on TV. The film was released in 1999 and was told about it just at the time it appeared, in the review on the First Channel. I didn’t pay attention to him then, and it was nothing. Then I liked fantasy and action movies with Schwarzenegger. And so in the spring of 2005, my last school vacation, I decided to take a look. I thought if I didn't like it, I'd change it. Moreover, the presence in the cast of Josh Hartnett bribed.
Now for the film itself.
The beginning was tedious and sluggish, some kind of thrust I thought. The voice behind the scenes is dull, tired and promising nothing good. That's what happened.
The movie is tragic and there is a sea of suffering in it, which, alas, cannot be calmed.
Some viewers naively put the girls themselves in the center of attention, their unhappy life in the parental cage. They say that despot parents are to blame for everything. It was not the parents who killed themselves, but the girls. So, we still need to see who is cooler than who in this confrontation. It is clear that any sane parents try to protect their children from the corrupt influence of this world. It's just that in this situation, the parents, specifically the mother, suppressed the girls in a tyrannical way. And my father was just on parcels, so to speak, had no voice of his own.
Let's go back.
If you look closely, at the very beginning you can understand that the story of this whole soulful story comes from the perspective of the boys. Not because boys are cooler than girls. The girls and their families in this film are the background.
For a short time, the guys talk about their pure youthful love for these girls, about dreams associated with them.
And gradually, this movie gets sucked in. You're kind of witnessing events from the '70s. You see the suicide of Cecilia, the youngest of the Lisbon sisters.
Then life seems to return to normal. Trip Fontaine, a local Casanova, breaks women's hearts. She falls in love with Lux Lisbon, the most beautiful of all Lisbon girls. Then we see the school ball, an evening that most of us have had in our lives. And we think it's the beginning of a beautiful story, a great love, but it wasn't there. Trip gets his way and leaves the football field, leaving Lux. This was the culmination of the film. Why did he leave? Disappointed the audience. Again a stone in the men's garden - all the bastards - will say again some decommissioned beauty. About Trip, of course, yes, he's a bastard. What about those silent guys, the narrators, the observers, what about them? Are they like that too? Not likely.
But it's done. Only Lux and Trip spent the night of love, and everyone got the party from their mother. Capitally. School night is a failure. No one else will go to school. And no music. All records in the furnace.
Boy storytellers try their best, call the sisters of Lisbon on the phone, put them again on the phone Bee Gees, Todd Rundgren, Gilbert O'Sullivan. They seem to be getting closer to the dream. Soon they will steal the sisters and travel with them. Finally, a plan to escape from the parental home is drawn up. The boys are starting to implement it. They walk into their house and they... Already dead. Killed themselves. Why? Why? Selfish. The answer is obvious - they don't like these boys. They don't compare to Trip.
And then we see the ruins, all that remains of youthful love - green fog, deep hangover, cynical condemnation of the inhabitants.
Oh, yeah, I forgot, it's Detroit baby, the crumbling car city giant. It all matched.
In the final, the boys say... It's not that they were too young or that they were girls, it's just that we loved the Lisbon sisters with all our heart and didn't forget them the next day. It is a pity that I will never return to the times of such a strange youth. I literally don't remember. It doesn't matter. The main thing is meaning.
I wonder what they will become in the future and how they will develop relationships with women. I hope they find love, they deserve it.
Who is Trip Fontaine or the silent sufferer? Everyone decides for themselves. And girls love Trip.
A strong movie, you need to grow up to it, but not everyone goes through it.
Sophia Coppola - well done and actors too.
It's just a silly phase I'm going through
10 out of 10
I love Sofia Coppola very much, but this film from all her filmography is the most incomprehensible to me.
Beautiful music, beautiful heroines, beautiful scenery. Everything's fine except the plot. I have one question: Why did they kill themselves? I don't see the reason. Neither in the parents, nor in the death of the younger sister (I did not notice any special suffering), nor in society. I didn't feel sorry for the heroines. Their lives were meaningless, but their deaths were even more senseless.
Even if we take apart the side of suicide, against which I personally have nothing (if you do not have relatives and friends, as they say - who cares?), it turns out that there is no reason for this. Not even a reason sucked out of a finger. There is no alienation, no deep suffering, no unbearable existence, no terrible loneliness. Just stupid girls with nothing to do. If the girl were alone, there would be no question - the cause would be loneliness. And so... They had each other, they were close. And alienation with someone is no longer alienation. Being alone with someone is no longer alone. There’s nothing to worry about, sorry.
Maybe Sofia Coppola wanted to say something with this film, but I didn’t hear anything.
7 out of 10
Still no words! I can't get over it. To begin with, this film was my acquaintance with the work of Sofia Coppola. And yes, the first impression was a bit shocking! In a good sense of the word.
Speaking of the movie, good! I was surprised to learn that this movie only has one award. To the Golden Palm branch of the Cannes Film Festival, of course, would not have reached, but something like the Golden Globe or Golden Raspberry film deserved! The film is so light and airy that even death in the form of suicide seems happy end #39. And, as the great Omar Khayyam told us and sang Alla Borisovna in the song of the same name & #39; We are guests in this mortal world', everything turns out so. We're really just guests and Sofia Coppola is promoting this in the Suicide Virgins.
The global problem of adolescent suicide is shown in a completely different way from the rest of the film adaptations. Everything here seems so simple as if it was the only way out, and not necessarily negative! It's beautiful. The story captures from the very first minute. The actors came in the best possible way. Everyone liked the game, and Mrs. Lisbon especially. Her facial expressions, habits only surprised. Anyway, I really liked the movie.
P.S. Next week will be dedicated to the work of Sofia Coppola.