There’s been no small amount of controversy surrounding Peter Jackson’s adaptation of Alice Sebold’s best-selling novel The Lovely Bones. Many have objected to the director’s decision to soften the depiction of violence that befalls its main character, while the studio that produced it, Paramount Pictures, has aggressively changed its ad campaign, making the film appear to be a girl’s mystery in order to appeal to a younger crowd. This all comes after delaying its wide release for nearly a month.
Having seen Jackson’s film, it’s hard to imagine what all the consternation is about. Horrific, heartbreaking, ultimately redemptive and gripping throughout, the director’s interpretation of Sebold’s book is spot on in capturing the magic of the novel, as well as the terror that propels young Susie Salmon (Saoirse Ronan) on her unique journey. To be sure, with a murdered 14 year-old girl as the story’s narrator, this is delicate material. Yet, Jackson goes out of his way to underscore the tragic results of Susie’s death, as well as its effect on her family, never treating this material in a trite or melodramatic manner.
After her death, the young girl looks upon earth from a place called the “in-between,” a sort of purgatory and a perfect world of her own imagining. Susie’s unsure why she’s stuck here, but soon realizes she can still commune in a way with some of those she left behind, among them her obsessed father, Jack (Mark Wahlberg), and her little sister, Lindsey (Rose McIver). She can also keep a watch on George Harvey (Stanley Tucci), her killer who lives across the street from her earthly home and who seems intent on repeating his crime.
There are two reasons this story translates so well to the screen and one of them is the cast. Wahlberg is heartbreaking as Jack, desperately seeking answers in Susie’s death, dazed and adrift having had his world torn apart. Equally effective is Rachel Weisz as his wife Abigail. While her reaction to the tragedy is different from her husband’s, the actress prevents the audience from being alienated by what she does. Tucci does fine in his thankless role, succeeding in delivering a chilling portrayal of a monster in our midst, while Ronan holds the film together as Susie, growing emotionally as she learns to move on from her ideal world.
Jackson’s depiction of Susie’s “in-between” is a stunning visual achievement, using computer-generated effects with a sort of artistry that eludes most filmmakers. Her world is a kaleidoscope of beautiful, fantastic images that capture the girl’s fancy, as well as her worst fears. In the film’s crowning achievement, she finds herself in a facsimile of Harvey’s house and each room opens up to a crime scene where she finds his past victims. The power and poignancy of these moments will leave you shaken and reiterates Jackson’s ability to create strong emotional responses with his deft artistic hand.
Those who love Sebold’s novel will notice a few changes, but none serious enough to cause any major objection. Jackson wisely focuses on Susie and her family’s journey toward healing. More than anything, the film is a powerful statement about the transcendent nature of forgiveness, as well as the strength found in being able to properly mourn and move on. In doing so, the director has crafted a truly special movie that should not be missed.
Contact Chuck Koplinski at [email protected].
