The Lovely Bones left me torn. On the one hand, it was an astonishingly creative and beautiful film, filled with the sort of deeply imaginative imagery that makes you want to leap from your seat in applause. But on the other, the film suffers from a conspicuous case of style over substance. While it is a message film—and a good one at that—the message is not prominent, and the conclusion needlessly timid. But it is something the film has no control over that impairs it the most—a philosophical aversion to bend to the rapacious human appetite for vengeance.
The main character, 14-year-old Susie Salmon (a terrific Saoirse Ronan), is murdered only minutes into the film. The setting is 1973 in the Philadelphia suburb of Norristown, where Susie is a typical teenager, especially her feelings for a schoolboy with whom she plans on sharing her first kiss. But it is a kiss she is never to have in life. Taking a shortcut through a cornfield after school one day, she encounters her neighbor, George Harvey (Stanley Tucci), who convinces Susie to enter an underground den that he says he's built for the local kids. But once inside, Harvey he rapes her, cuts her throat, and dismembers her body. (Thankfully, this horrific event occurs offscreen.)
How do you continue a story when your protagonist is killed? But as Ghost and other films have shown, sometimes death is only the beginning.
While the Salmon family, led by Susie's parents (Mark Wahlberg and Rachel Weisz), tries to come to grips with their loss, Susie finds herself in her own "personal heaven" from which she can observe her loved ones but not interact with them. She watches as police detective Len Fenerman's (Michael Imperioli) investigation grows increasingly cold. ...1
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The Lovely Bones
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