Movie Review Reaction for The Lovely Bones

On December 11, 2009 the New York Times writer, A. O. Scott posted the Movie Review,
"Gazing Down, From a Suburb of Heaven, at an Earthly Purgatory". I agree partially with Scott's ideas towards The Lovely Bones. In particular, Scott states,"The filmmakers’ evident affection for the book expresses itself as a desperate scramble to include as much of it as possible, which leaves the movie feeling both overcrowded and thin. The anguish in the Salmon household is dutifully observed: dad smashes his collection of model ships, mom withdraws and then flees to California, and in the middle of it grandma arrives, a brassy boozer played by..."(Scott). I fervently believe the filmmaker became too enamored with the book. There were parts throughout the movie I experienced Oh Yeah moments. They happened in the book so imminently and in the film like Scott acknowledges, they were intermixed and abruptly forced to fit in. However, I do disagree with Scott's belief that the filmmaker overcrowded the movie. I in fact, felt closer to Susie and sensed her death more and more each time certain sections of the book were elaborated and visually placed in the film.

Furthermore, Scott explains about the lovely bones and its relation with the title,"The title of “The Lovely Bones” refers to the relationships among these people that knit together in Susie’s absence. In Mr. Jackson’s version, though, they are hastily and haphazardly assembled, so that nothing quite fits together"(Scott). I completely agree with Scott's explanation for Jackson's version of the bones. In the book the only body parts found by Detective Fenerman were her teeth and her elbow. In other words, even though these are key elements to find her assassin, they were really hard to place together. The teeth were found in Connecticut while her elbow was found in another state. It became very difficult for Fenerman to ultimately accuse any one person. Moreover,  Scott's symbolism for the title The Lovely Bones, does become obvious throughout the film as well as the book. For example, while Susie is dead, Lindsey and Samuel become engaged, and even her mother and the detective make out. Clearly many individuals bonded while she was absent.

In addition, Scott critiques about the film,"Mr. Jackson’s film, from a script he wrote with Fran Walsh and Philippa Boyens, his frequent collaborators, shows less audacity and too much art"(Scott). In simpler words, Jackson took the art, the imagery, and the metaphors to another extent. For example, there was a part in the film where Susie appeared in a magazine in this world of bliss and ever-lasting peace. I think Jackson could have limited his fantasies by having equal amounts of fantasy and reality. The fantasy in fact confused me but brought laughter at certain points.

Overall, Scott's review for The Lovely Bones really broke down the film and criticized Jackson's techniques. This movie review reveals many truths about the film, but it also doesn't recognize the complexity of the movie. It is a film already filled with confusion and suspense, for its a raped teenager living in both worlds. 


Work Cited Entry:

Scott, A. O. "The Lovely Bones - Gazing Down, From a Suburb of Heaven, at an Earthly Purgatory."

      New York Times [New York] 11 Dec. 2009. Movie Reviews, Showtimes and Trailers - Movies - New   

     York Times - The New York Times. 11 Dec. 2009. Web. 25 Feb. 2011. 

      <http://movies.nytimes.com/2009/12/11/movies/11lovelybones.html>.