LinhThe Lovely Bones; supernatural murder mystery film review
December 26th 2009 22:23
Spirit Connections by Linh
The Lovely Bones is the film adaptation of Alice Sebold's beloved book of the same name and is director Peter Jackson's latest film following his blockbusters The Lord of the Rings trilogy and King Kong.
Transcribing it from page to screen proved to be a challenge, but Peter Jackson and his fellow screenwriters/producers Fran Walsh and Phillipa Boyens have succeeded in creating a superb adaptation that works equally well as a stand alone film. While the book is an emotionally-charged read about a family dealing with a young child's death, the film is a supernatural crime thriller with a strong focus on Susie Salmon's in-between rather than the family breakdowns and strained relationships following her death.
The story is set in the 1970s and narrated by the main character, Susie Salmon, a fourteen year old who is raped and murdered by her neighbour George Harvey. She watches her family cope with her death while she's in an otherworldly state. Susie doesn't realise she is dead and in an in-between world until she starts seeing images of her killer, the murder weapon and other little clues that connect Harvey to her murder. The brutal rape scene which was detailed in the book has been omitted by Peter Jackson to make the film more family friendly. The flashbacks Susie experiences and the editing gives the viewer all they need to make the connections and the audience discovers answers at the same time Susie does. Susie has the ability to tap into the thoughts and emotions of the living and from her in-between, she can control how they feel and what they do simply by willing it to happen. Susie is already dead as she narrates, and her spirit cannot leave the in-between while her killer remains at large, and because her loved ones are still holding on to memories of her instead of moving on with their lives.
The Lovely Bones features motifs and metaphors throughout, such as the harrowing scene where Susie finally enters an open door of a house which represents George Harvey's subconscious. While she is there, she can see all the young female victims who have been raped and murderd by Harvey during the last decade. Harvey had taken Susie's charm bracelet as a souvenir, but only kept the house charm. It is this little house that is symbolic of the place which holds the dark secrets of his crimes - in his memories.
The film moves at a steady pace, with moments of heightened fear as Susie's sister Lindsey searches for evidence in Harvey's house, to some tender and touching times as Susie tries to reach into her father's consciousness to let him know she's OK and who her killer is. The challenge of 'showing' the audience what is happening inside one's mind through actions instead of words is no mean feat; yet with the blend of strong performances from the lead actors and some special effects, the thoughts and emotions are made visibly obvious.
Leading the ensemble cast is Irish actress Saoirse Ronan, an Oscar nominee for her excellent performance in Atonement, who plays Susie and is so convincing with her bright blue eyes as to make one believe in her sincerity and innocence lost; Mark Wahlberg gives his character, Jack Salmon, enough emotional angst to show he really cares about and loves his daughter but not enough for the audience to care about his character; Rachel Weisz is wonderful but under-utilised as Susie's grieving mother, Abigail, who just wants to move on and move away from the pain and suffering her daughter's disappearance and death is bringing to the family; Susan Sarandon brilliantly provides the comedy relief in the film as Susie's Grandma Lynn, who arrives to keep the family from falling apart and into an emotional blackhole, with her big hair, plenty of make-up, cigarette in one hand and alcohol in the other. Her appearance changes dramatically when her character transforms to flat hair and no make up as she becomes a more responsible person; Stanley Tucci's Italian features are barely recognisable under a wig, facial hair and make-up in a fantastic portrayal of the ordinary and plain paedophile and pervert George Harvey, which has already earned him Golden Globe and Screen Actors Guild award nominations; New Zealand actress Rose McIver is fabulous as Susie's younger sister Lindsey who suspects her neighbour George Harvey of her sister's murder.
The Lovely Bones is visually stunning and beautifully filmed, with CGI used to create Susie's in-between, which is her own imagined utopia stemming from her subconscious, rather than being an actual physical place. A state best described as existing between Heaven and Earth. Susie experiences things as though she is sometimes in a dream with brightly coloured clothes, funky platform shoes, and an environment that changes abruptly and unexpectedly, sometimes at her whim. The musical score by Brian Eno is like an emotional sound wave that flows and sets the mood with serenity, happiness and hope or fear, horror and sadness. Most of the film uses sound editing effectively, and accompanies the visual effects to produce plenty of beguiling imagery and scintillating sounds.
The Lovely Bones is film of hope and light at the end of the tunnel which will strike an emotional chord for those who have grieved or mourned a loved one who has passed away. Some fans of the book will be disappointed as this is not a direct reflection of the novel. Instead of a cinematic carbon copy of the book, it is an enthralling and brilliant film which bears the usual trademarks of Peter Jackson's visionary élan. It's a shame people still judge a film by the book from which it was adapted. Afterall, Peter Jackson is not a director/producer who will always do things "by the book". That is part of his genius.
Director: Peter Jackson
Cast: Saoirse Ronan, Mark Wahlberg, Susan Sarandon, Rachel Weisz, Stanley Tucci, Rose McIver, Reece Ritchie, Michael Imperioli, Carolyn Dando, Christian Thomas Ashdale, Nikki Soohoo
Writer: Alice Sebold (book), Peter Jackson, Fran Walsh, Phillipa Boyens
Proucers: Peter Jackson, Steven Spielberg, Fran Walsh, Phillipa Boyens, James Wilson, Ken Kamins
Original Music: Brian Eno
Cinemagraphy: Andrew Lesnie
Costume Designer: Nancy Steiner
Running Time: 2 hours and 10 minutes.
AWAKENING: Susie (Saoirse Ronan) wakes to an in-between world in the film The Lovely Bones. Image: Paramount Pictures/Dreamworks.
The Lovely Bones is the film adaptation of Alice Sebold's beloved book of the same name and is director Peter Jackson's latest film following his blockbusters The Lord of the Rings trilogy and King Kong.
Transcribing it from page to screen proved to be a challenge, but Peter Jackson and his fellow screenwriters/producers Fran Walsh and Phillipa Boyens have succeeded in creating a superb adaptation that works equally well as a stand alone film. While the book is an emotionally-charged read about a family dealing with a young child's death, the film is a supernatural crime thriller with a strong focus on Susie Salmon's in-between rather than the family breakdowns and strained relationships following her death.
UNNEIGHBOURLY: George Harvey (Stanley Tucci) keeps an eye on his neighbours in the film The Lovely Bones. Image: Paramount Pictures/Dreamworks.
The story is set in the 1970s and narrated by the main character, Susie Salmon, a fourteen year old who is raped and murdered by her neighbour George Harvey. She watches her family cope with her death while she's in an otherworldly state. Susie doesn't realise she is dead and in an in-between world until she starts seeing images of her killer, the murder weapon and other little clues that connect Harvey to her murder. The brutal rape scene which was detailed in the book has been omitted by Peter Jackson to make the film more family friendly. The flashbacks Susie experiences and the editing gives the viewer all they need to make the connections and the audience discovers answers at the same time Susie does. Susie has the ability to tap into the thoughts and emotions of the living and from her in-between, she can control how they feel and what they do simply by willing it to happen. Susie is already dead as she narrates, and her spirit cannot leave the in-between while her killer remains at large, and because her loved ones are still holding on to memories of her instead of moving on with their lives.
PREDATORY: George Harvey (Stanley Tucci) follows Susie (Saoirse Ronan) through the cornfield in the film The Lovely Bones. Image: Paramount Pictures/Dreamworks.
The Lovely Bones features motifs and metaphors throughout, such as the harrowing scene where Susie finally enters an open door of a house which represents George Harvey's subconscious. While she is there, she can see all the young female victims who have been raped and murderd by Harvey during the last decade. Harvey had taken Susie's charm bracelet as a souvenir, but only kept the house charm. It is this little house that is symbolic of the place which holds the dark secrets of his crimes - in his memories.
CRUSH: Grandma Lynn (Susan Sarandon) notices Susie (Saoirse Ronan) is secretly in love with Ray in the film The Lovely Bones. Image: Paramount Pictures/Dreamworks.
The film moves at a steady pace, with moments of heightened fear as Susie's sister Lindsey searches for evidence in Harvey's house, to some tender and touching times as Susie tries to reach into her father's consciousness to let him know she's OK and who her killer is. The challenge of 'showing' the audience what is happening inside one's mind through actions instead of words is no mean feat; yet with the blend of strong performances from the lead actors and some special effects, the thoughts and emotions are made visibly obvious.
SIGNS:Jack (Mark Wahlberg) sees Susie in the light of the candle in the film The Lovely Bones. Image: Paramount Pictures/Dreamworks.
Leading the ensemble cast is Irish actress Saoirse Ronan, an Oscar nominee for her excellent performance in Atonement, who plays Susie and is so convincing with her bright blue eyes as to make one believe in her sincerity and innocence lost; Mark Wahlberg gives his character, Jack Salmon, enough emotional angst to show he really cares about and loves his daughter but not enough for the audience to care about his character; Rachel Weisz is wonderful but under-utilised as Susie's grieving mother, Abigail, who just wants to move on and move away from the pain and suffering her daughter's disappearance and death is bringing to the family; Susan Sarandon brilliantly provides the comedy relief in the film as Susie's Grandma Lynn, who arrives to keep the family from falling apart and into an emotional blackhole, with her big hair, plenty of make-up, cigarette in one hand and alcohol in the other. Her appearance changes dramatically when her character transforms to flat hair and no make up as she becomes a more responsible person; Stanley Tucci's Italian features are barely recognisable under a wig, facial hair and make-up in a fantastic portrayal of the ordinary and plain paedophile and pervert George Harvey, which has already earned him Golden Globe and Screen Actors Guild award nominations; New Zealand actress Rose McIver is fabulous as Susie's younger sister Lindsey who suspects her neighbour George Harvey of her sister's murder.
FAMILY: Abigail ( Rachel Weisz) tells her son Buckley (Christian Thomas Ashdale) that Susie will be home soon in the film The Lovely Bones. Image: Paramount Pictures/Dreamworks.
The Lovely Bones is visually stunning and beautifully filmed, with CGI used to create Susie's in-between, which is her own imagined utopia stemming from her subconscious, rather than being an actual physical place. A state best described as existing between Heaven and Earth. Susie experiences things as though she is sometimes in a dream with brightly coloured clothes, funky platform shoes, and an environment that changes abruptly and unexpectedly, sometimes at her whim. The musical score by Brian Eno is like an emotional sound wave that flows and sets the mood with serenity, happiness and hope or fear, horror and sadness. Most of the film uses sound editing effectively, and accompanies the visual effects to produce plenty of beguiling imagery and scintillating sounds.
The Lovely Bones is film of hope and light at the end of the tunnel which will strike an emotional chord for those who have grieved or mourned a loved one who has passed away. Some fans of the book will be disappointed as this is not a direct reflection of the novel. Instead of a cinematic carbon copy of the book, it is an enthralling and brilliant film which bears the usual trademarks of Peter Jackson's visionary élan. It's a shame people still judge a film by the book from which it was adapted. Afterall, Peter Jackson is not a director/producer who will always do things "by the book". That is part of his genius.
IN-BETWEEN: Susie (Saoirse Ronan) senses danger while in her in-between world in the film The Lovely Bones. Image: Paramount Pictures/Dreamworks.
Director: Peter Jackson
Cast: Saoirse Ronan, Mark Wahlberg, Susan Sarandon, Rachel Weisz, Stanley Tucci, Rose McIver, Reece Ritchie, Michael Imperioli, Carolyn Dando, Christian Thomas Ashdale, Nikki Soohoo
Writer: Alice Sebold (book), Peter Jackson, Fran Walsh, Phillipa Boyens
Proucers: Peter Jackson, Steven Spielberg, Fran Walsh, Phillipa Boyens, James Wilson, Ken Kamins
Original Music: Brian Eno
Cinemagraphy: Andrew Lesnie
Costume Designer: Nancy Steiner
Running Time: 2 hours and 10 minutes.
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