The Virgin Suicides

«So much has been said about the girls over the years. But we have never found an answer. It didn't matter in the end how old they had been, or that they were girls... but only that we had loved them, and that they hadn't heard us calling... still do not hear us calling them from out of those rooms where they went to be alone for all time... and where we will never find the pieces to put them back together.»

A primeira longa-metragem de Sofia Coppola, The Virgin Suicides (1999), conta-nos a história das 5 irmãs Lisbon que vivem nos subúrbios de Detroit nos anos 70 super-protegidas pelos pais católicos, atraindo a atenção dos rapazes da escola pela sua aparente inocência. As vidas das raparigas mudam drasticamente depois do suicídio da mais nova, Cecilia, com apenas 13 anos e do romance de Lux com Trip Fontaine. E os Lisbon isolam-se cada vez mais. Lux, Bonnie, Mary e Therese vivem como reclusas numa casa demasiado conservadora, afastadas de toda a vida social, o que só aumenta o fascínio dos rapazes pela sua distância. Um filme que, antes de qualquer resumo, tem de ser visto.

Quanto ao elenco, temos James Woods (Ronald Lisbon), Kathleen Turner (Sara Lisbon), Kirsten Dunst (Lux) e Josh Hartnett (Trip Fontaine). O filme é baseado no romance homónimo de 1993 de Jeffrey Eugenides, vencedor do Prémio Pulitzer com o romance Middlesex (2002).


The Virgin Suicides tem duas bandas sonoras: a banda sonora original mais intrumental, composta pelo duo francês Air (onde podemos encontrar a épica Playground Love) que foi lançada em álbum posteriormente, e a banda sonora mencionada nos créditos, que consiste maioritariamente em canções dos anos 70, com nomes como Heart, Electric Light Orchestra, Tod Rundgren e Carole King. No Sétimo Som podem ouvir um pouco das duas, em 57 minutos de boa música.


Já sabem, sábado, 20 de Junho, às 19 na Rádio Zero e às 17 na Douro Fm. Mais tarde, em podcast.

When I read the book, it became one of my favorites. I really loved how the story had serious and tragic sides, but was also funny. You know how you get about those books that you love — "Oh, they're going to make a movie of it! Are they going to do it right?" I had those feelings, and then I heard a little about how others were doing it, and I got the feeling that it wasn't going to be treated as delicately as I thought the book deserved. I got protective of it and I started thinking, "Oh, the film should open like this, not like that," and so I thought I'd start writing it down, instead of talking about it. I started writing a couple scenes, and then I got into it. I was doing it on the weekends. I thought, "Oh, I'll just do one more scene. If nothing else, I'll learn how to adapt a book into a screenplay".
Sofia Coppola