As someone who writes reviews only occasionally, I have the benefit of seeing many films without critiquing them. However, as I’ve been learning from this Cinematical Movie Club experience, it can be a joy to pull a film off the shelf, throw it into the player, and really pay attention to all of the subtle nuances, rather than merely getting lost in the cinematic world and its story. It becomes clear why a film finds its way to the library, why it gets watched more than once, and most certainly it helps to define what types of cinematic magic its owner finds most appealing.
Watching The Virgin Suicides again, with no distractions but a glass of whisky and a Twitter-fueled laptop, I finally began to see why I appreciated the film, and just how well Sofia Coppola did with her first feature. A counter-point to the suicide obsession in Heathers, Suicides explores the same theme — from the false comfort suicide can provide young people, to the ill-placed efforts of teachers to quell the trend, and the media who latch onto it as a sensational news item. However, where Mark Waters’ tale explores it all with harsh cynicism, Coppola uses nostalgic whimsy that is as much sweet and dramatic as it is dark and funny.
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