The Virgin Suicides – Film Review

Released in 1999, Sofia Coppola‘s directorial debut, The Virgin Suicides, casts a haunting yet aesthetically serene glance at the complexities of adolescence, familial oppression, and the enigmatic essence of youth lost. Based on Jeffrey Eugenides’s novel of the same name, the film unfolds the story of the five Lisbon sisters, living in the suburbs of Michigan during the 1970s, who captivate the neighborhood boys’ hearts and imaginations long after a series of tragic suicides cuts their lives short. With an ethereal visual palette and a meticulously crafted soundtrack, Coppola manages to transform a grim narrative into a delicate exploration of the elusive memories of youth, evoking a lingering feeling of nostalgia and melancholy.

Coppola and cinematographer Edward Lachman have collaboratively painted a visually striking picture that effortlessly complements the film’s tone. The use of soft focus, pastel colors, and natural light creates a dreamlike quality that seems to echo the hazy nature of memory itself. The setting of the 1970s suburban America is brought to life with such a delicate touch that even the most mundane elements appear imbued with significance. This visual approach not only sets the mood but also effectively juxtaposes the beauty of the girls’ youthful aura against the underlying darkness of their circumstances, underscoring the tragedy without overtly dwelling on the morbid.

The evocative score by Air, along with a selection of 70s hits, further encapsulates the temporal setting while reinforcing the film’s ethereal quality. The soundtrack serves not just as a backdrop but as a narrative device that enhances the emotional resonance of key scenes, bridging the gap between the viewer’s experience and the internal worlds of the characters. The thoughtful curation of music adds layers to the narrative, drawing the audience deeper into the suffocating atmosphere of the Lisbon household and the bittersweet tang of adolescence.

Central to the film’s narrative is the Lisbon family, with the sisters portrayed as almost mythical figures through the eyes of the neighborhood boys. Kirsten Dunst‘s portrayal of Lux, the most rebellious of the sisters, stands out as particularly compelling. Dunst captures the complexity of teenage defiance, desire, and despair with a nuanced performance that oscillates between seductive confidence and heartbreaking vulnerability. The other sisters, though given less screen time, contribute to the collective enigma of the Lisbon girls, embodying different facets of youth and femininity.

The film’s narrative perspective, primarily through the collective voice of the boys (now men) who admired the Lisbon sisters from afar, serves as both a strength and a limitation. It masterfully conveys the mystique surrounding the sisters and critiques the objectification and idealization of young women. However, this external gaze occasionally leaves the inner lives of the sisters, especially the reasons behind their tragic decisions, somewhat underexplored.

The Virgin Suicides adeptly tackles themes of repression, isolation, and the longing for escape, against the backdrop of a seemingly idyllic suburban landscape. The Lisbon household, under the strict supervision of Mr. and Mrs. Lisbon (brilliantly played by James Woods and Kathleen Turner), becomes a symbol of the suffocating norms and expectations that govern female behavior and ambition. The film doesn’t provide clear answers but rather invites the audience to ponder the complexities of its characters and their choices, emphasizing the tragic consequences of misunderstanding and miscommunication between generations.

Moreover, the film operates on a profound level of nostalgia, not for the era per se but for the innocence and intensity of adolescent feelings. It mourns the loss of the Lisbon sisters not only as individuals but also as embodiments of a time and feeling forever inaccessible to the narrators and, by extension, the audience.

The Virgin Suicides marks an impressive debut for Sofia Coppola, showcasing her distinct voice and aesthetic sensibility. The film’s visual and auditory elegance, combined with strong performances and a layered narrative, make for a compelling viewing experience that lingers long after the credits roll. However, the choice to focus primarily on the boys’ perspective, though thematically relevant, occasionally feels like a missed opportunity to delve deeper into the Lisbon sisters’ interiority. Additionally, certain narrative decisions might leave viewers craving more context or resolution regarding the family’s dynamics and the girls’ motivations.