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The Virgin Suicides

Kirsten Dunst (Actor), Josh Hartnett (Actor), Sofia Coppola (Director, Writer) Rated:
R
Format: DVD
4.5 out of 5 stars 910 ratings
IMDb7.2/10.0
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Genre Drama, Comedy
Format NTSC, Full Screen, Color, Dolby, Widescreen
Contributor Chelse Swain, Sofia Coppola, James Woods, Kathleen Turner, Jeffrey Eugenides, Anthony DeSimone, Josh Hartnett, A.J. Cook, Scott Glenn, Danny DeVito, Kirsten Dunst, Michael Par, Leslie Hayman, Hanna Hall See more
Language English, French
Runtime 1 hour and 37 minutes
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Product Description

Product description

In a quiet Michigan community in the mid-1970s, neighborhood boys try to piece together the lives of the five Lisbon sisters, kept isolated by their over-protective parents.
Genre: Feature Film-Drama
Rating: R
Release Date: 9-AUG-2005
Media Type: DVD

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Previously criticized for her marginal acting skills, Sofia Coppola made her directorial debut with The Virgin Suicides and silenced her detractors. No amount of coaching from her director father (Francis Coppola) or husband (Spike Jonze) could have guaranteed a film this assured, and in adapting Jeffrey Eugenides's novel, Coppola demonstrates the sensitivity and emotional depth that this material demands. Surely the pain of youth and public criticism found its way into her directorial voice; in the story of four sisters who self-destruct under the steady erosion of their youthful ideals, one can clearly sense Coppola's intimate connection to the inner lives of her characters.

Played in a delicate minor key, the film is heartbreaking, mysterious, and soulfully funny, set in a Michigan suburb of the mid-1970s but timeless and universal to anyone who's been a teenager. The four surviving Lisbon sisters lost a sibling to suicide, and as its title suggests, the film will chart their mutual course to oblivion under the vigilance of repressive parents (Kathleen Turner and James Woods, perfectly cast). But The Virgin Suicides is more concerned with life in that precious interlude of adolescence, when the Lisbon girls are worshipped by the neighborhood boys, their notion of perfection epitomized by Lux (Kirsten Dunst) and her storybook love for high-school stud Trip (Josh Hartnett). Unfolding at the cusp of innocence and sexual awakening, and recalled as a memory, The Virgin Suicides is, ultimately, about the preservation of the Lisbon sisters by their own deaths--suspended in time, polished to perfection, and forever untainted by adulthood. --Jeff Shannon

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ R (Restricted)
  • Product Dimensions ‏ : ‎ 7.25 x 5.25 x 0.5 inches; 3.2 ounces
  • Director ‏ : ‎ Sofia Coppola
  • Media Format ‏ : ‎ NTSC, Full Screen, Color, Dolby, Widescreen
  • Run time ‏ : ‎ 1 hour and 37 minutes
  • Release date ‏ : ‎ December 19, 2000
  • Actors ‏ : ‎ Kirsten Dunst, Josh Hartnett, James Woods, Kathleen Turner, Michael Par
  • Dubbed: ‏ : ‎ English, French
  • Subtitles: ‏ : ‎ English
  • Studio ‏ : ‎ Paramount
  • ASIN ‏ : ‎ B00003CXH1
  • Writers ‏ : ‎ Jeffrey Eugenides, Sofia Coppola
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.5 out of 5 stars 910 ratings

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4.5 out of 5 stars
910 global ratings

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Great movie! Mysterious and beautiful.
5 out of 5 stars
Great movie! Mysterious and beautiful.
I first ever saw this movie on Netflix, and I’ve been in love with it ever since. Kirsten Dunst is by far one of my favorite actresses and this movie shows off her talent very well. I have watched it three times in the past week because it’s just so captivating. It was made in 2000, but to me it has a 80’s or early 90’s vibe to it. I love the mystery and heartache that they show and it’s just so creative. I have recently received the book and I can’t wait to read it!
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Top reviews from the United States

  • Lawrance Bernabo
    5.0 out of 5 stars Sofia Coppola's stunning feature film debut as a director
    Reviewed in the United States on February 2, 2004
    Verified Purchase
    Apparently those who cannot act, can direct. The legendary bad performance Sofia Coppola turned in for her father's "The Godfather, Part III," will now be reduced to being the prelude to what should be a stunning career as a director. Currently nominated for Oscars for both writing and directing Best Picture nominee "Lost in Translation," Coppola already proved her competence behind the camera in her first full-length feature, "The Virgin Suicides" (She previously made a 14-minute short, "Lick the Star"). They will be arguing heredity versus environment on Sofia Coppola for the next half-century.
    As our story begins, we are informed by the film's narrator (Giovanni Ribisi) that the first of the Lisbon sisters to attempt suicide, was the youngest, Cecilia (Hannah Hall). Told by the doctor that she is not old enough to know how bad life gets, Cecilia calmly responds, "Obviously, Doctor, you've never been a thirteen year old girl." Having watched "Thirteen" this week, I know bad that age can be, but that is not what "The Virgin Suicides" are about. This film is more about what the boys in the neighborhood thought about the Lisbon sisters than what drove them to suicide.
    Strangely enough, "The Virgin Suicides" is not a black comedy, although there are a few moments along those lines, mostly supplied by the adults in the narrative. The boys in the neighborhood worship the Lisbon sisters as icons of both feminine beauty and mystery, especially Lux (Kirsten Dunst), the second youngest of the quintet and the one who is most determined to have done some living before she dies.
    There is a metaphor at work big time in "The Virgin Suicides," because the Lisbon sisters might kill themselves, but the ideal they represented to the boys in the neighborhood will live forever. Coppola creates a wonderful romantic scene when the girls are pulled from school and shut up in their house in maximum security isolation by their mother (Kathleen Turner) after the death of Cecilia. The boys and girls exchange phone calls in which they play songs from their favorites records, never saying a word, but communicating a lot of emotions in their selections. What impresses you about Coppola's direction in this film is that she keeps the story and her camera under control. There really are not big moments in this film, just skillfully crafted small ones.
    The cast also features James Woods as the girls' father, Scott Glenn as Father Moody, and Danny Devito as Dr. Horniker. You get the feeling that daddy's name might have gotten them to read the script at which point the script sold them on participating in this one. Josh Hartnett plays Trip Fontaine, the one boy in the neighborhood who grows up to make a move for Lux (and who grows up to be played by Michael Paré). This 1999 film was adapted by Coppola from the novel by Jeffrey Eugenides, which supposedly is Coppola's favorite book. "Lost in Translation" was an original story and script, so Coppola has already moved to the next level. On the basis of these first two films, we certainly have to look forward to what she comes up with next, because Coppola is getting off to a great start behind the camera.
    30 people found this helpful
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  • Jen
    5.0 out of 5 stars Everyone has problems, yes, even teenagers...
    Reviewed in the United States on September 21, 2019
    Verified Purchase
    The movie is an account of outside perspective of the girls' lives. So you never really know what is truly happening in their home. I agree with the other reviews on that the music in the movie is fantastic. But I didn't see any other reviews indicate how our culture was back then. Neighbors constantly talking about how that household was essentially a prison to those young girls, but never intervening. How their mother ran a strict household, doing her best, but no one ever getting close enough to her to let her know her love for them was choking them.

    I think the lesson of this movie isn't just about how suicide affects everyone, even those who weren't directly involved. But also how freedom to grow, is also very important to teenagers. They need to live their own lives, within reason, but to be able to make mistakes.
    3 people found this helpful
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  • Ariana
    5.0 out of 5 stars Heavy and Beautiful
    Reviewed in the United States on September 17, 2019
    Verified Purchase
    From the title and opening lines, you know all the girls will die. Knowing this from the start should prepare viewers, but it doesn't. All you see are the flashes of brief happiness despite the inevitable descent into sadness, and hold onto those moments with a blind hope that something will change. But it doesn't, and it won't. I was most intrigued by the accuracy of the narrator's outside point of view, the ending monologue almost bringing me to tears. As someone who has lost loved ones to suicide, the narration stays so true to the perspective I myself experienced. Looking for signs, looking for conclusion. Those things never go away. Some may dismiss this film as being dream-like and almost superficial, but the emotion and meaning is there if looked for, and has brought some level of comfort in the relatability of the words.
    4 people found this helpful
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  • Elle
    5.0 out of 5 stars The Story of Teen Girls Denied Their Adolescence
    Reviewed in the United States on July 12, 2019
    Verified Purchase
    When I first saw this movie I cried, I watched it again today and still found myself tearing up. I personally have experience with suicidal ideation, but there's something about watching the demise of young souls that makes it all seem moot. Here's a story about teen girls, who should at that age be discovering who they are on the track to being women. Unfortunately, overbearing and strict parenting denied them the right to get to know themselves and the world around them. Teenage years can be an angsty time, full of uncertainty and heartbreak, but its a part of life. With this film, you witness the demise of their adolescence. The acting is well done, Kristen Dunst in particular sticks out to me the most. The film leaves out a few more disturbing aspects from the novel, but overall the movie is well done.
    3 people found this helpful
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  • RugbYogi
    5.0 out of 5 stars Great adaptation to the book!
    Reviewed in the United States on April 30, 2020
    Verified Purchase
    Wonderfully done! This film is a satisfying extension to the book (which is also very well written). For me, the mysteriousness and obsession with the girls was gripping and intriguing and spills over into the film after reading. I was very pleased at how well the movie stuck to the book and the casting was spot on. The true meaning behind the story isn't what it seems and the book explains it much better with more symbolism. The book also delivers a tiny twist that isn't portrayed in the movie. I am betting that low stars are reviews from those whom missed the point of the story. To that I say... read the book! It won't let you down.
    2 people found this helpful
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  • Christiane 122
    5.0 out of 5 stars Excellent premier film de Sophia Coppola
    Reviewed in Canada on August 24, 2020
    Verified Purchase
    Très bon film d'un drame horrible de 4 jeunes sœurs d'une éducation trop stricte de la mère religieuse… à voir.
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  • Michael Schäfer
    5.0 out of 5 stars Tolle Literaturverfilmung mit perfekter Balance aus Anspruch und Geradlinigkeit
    Reviewed in Germany on February 5, 2012
    Verified Purchase
    Sofia Coppolas Film-Adaption von Jeffrey Eugenides' erschütternder und doch mit einer reichlichen Portion Humor und melancholisch-verklärender 70er-Jahre-Nostalgie gespickter Geschichte von den fünf katholischen Teeanger-Schwestern, die sich vor dem Hintergrund des prüden und mit der Zeit immer rigideren Regimes ihrer dominanten Mutter innerhalb eines Jahres das Leben nehmen, ist eine rundum gelungene Literaturverfilmung - und zwar weil (oder obwohl, je nach persönlicher Präferenz) sie sich vor allem darin übt, das oben beschriebene atmosphärische Mischverhältnis der Romanvorlage eins zu eins zu übernehmen. Auch Coppolas Film ist zugleich Tragödie und Komödie, beißende Gesellschaftskritik und verklärende 70er-Romantik, und die ungewöhnliche Perspektive der Original-Geschichte, die aus der Sicht eines Kollektivs aus männlichen Schulkameraden der Lisbon-Schwestern erzählt wird, findet sich ebenso in der Anlage des Filmes wieder. Der Erzähler, einer der Jungs, dessen Stimme sich harmonisch in den Gang des Films einfügt, rezitiert Eugenides' zentrale nachdenkliche Passagen teilweise wörtlich - und dabei zum Glück immer gut getimed und um kein Wort zu viel.
    Passagenweise wagt der Streifen es sogar, das besagte Mischverhältnis höchst unterschiedlicher Stimmungslagen zugunsten eines sehr direkten szenischen Humors abzuändern, in dem er die in der Romanvorlage dezent angelegte Lächerlichkeit bestimmter Charaktere gnadenlos überzeichnet. Danny Devito als kauziger Psychologe, dessen Rat an die Eltern nach dem ersten Selbstmordversuch der jüngsten Tochter Cecilia zwar etwas plump anmutet, sich vor dem Hintergrund der elterlichen Ignoranz und der darauffolgenden Ereignisse allerdings als in seiner Schlichtheit unheimlich treffend erweist, sorgt ebenso für Lacher wie die Darstellung des Mafiosi-Sohns zu Beginn des Films und die Einführung des Mädchenschwarms Trip Fontaine (von Josh Hartnett als geradezu androgyner Dauercannabiskonsument genial verballhornt).
    Was sich der Film hingegen - klugerweise - nicht zumutet, ist die Übernahme der zeitlichen Brüche aus Eugenides' Roman. Hier wird strikt chronologisch erzählt, was dem Streifen eine angenehme Geradlinigkeit verleiht. Hier stehen die Charaktere und ihre persönlichen Schicksale im Vordergrund: Die Jungs, in ihrer total verliebten Verklärung der Mädchen zu ätherischen Göttinnen und ihrer daraus hervorgehenden rührenden Hilfsbereitschaft gegenüber den eingesperrten Sirenen, die sie zwar schon um Hilfe rufen, aber ihre Antworten nicht hören (können oder wollen?) - sie repräsentieren eine Generation hinterfragender, romantischer, aber doch hilfloser Glücksuchender, die der Ignoranz der Elterngeneration letztlich nichts entgegenzusetzen haben. Die Lisbon-Mädchen hingegen umgibt aufgrund der Perspektivierung der Geschichte immer ein Schleier des Geheimnisvoll-Schönen. Ob die Jungs sich in Traumsequenzen die zauberhafte Lux (die zauberhafe Kirsten Dunst) als strahlende gute Fee zurechtbiegen, oder ob sie sich als Akt heimlicher Rebellion auf dem Hausdach von x-beliebigen Männern vögeln lässt - sie ist und bleibt das Epi-Zentrum, die zentrale Präsenz des Films. Dass ihre Schwestern dagegen etwas austauschbar angelegt sind, ist wohl in 90 Minuten Film nicht zu vermeiden.
    Letztlich bleibt festzuhalten, dass es Sofia Coppola und ihren Zuarbeitern gelungen ist, Eugenides' tollen Roman in einen Film umzuwandeln, dem ein seltenes Kunststück gelingt: einerseits durch die Verschmelzung so verschiedener Stimmungs- und Inhaltsaspekte wie melancholischer Vergangenheitsverklärung, beißender impliziter Gesellschaftskritik, skurrilem Humor und der Darstellung tiefer Erschütterung zum Nachdenk und Mitfühlen anzuregen, ohne dabei je kitschig oder überdreht zu wirken; andererseits jedoch eine gewisse Grundfarbe der Leichtigkeit und Schlichtheit zu bewahren, die den Film kurzweilig und sehr zugänglich erscheinen lässt. Ein Streifen, der für verschiedene cineastische Geschmäcker viel bietet, zumindest, soweit man sich für Menschen und ihre Geschichten begeistern kann.
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  • Robin
    5.0 out of 5 stars Sophia Coppola’s Magnum Opus.
    Reviewed in the United Kingdom on August 5, 2024
    Verified Purchase
    Haunting film with a great atmospheric sound track by Air.

    Very engaging and challenging. It definitely marks you. A hallmark of a great film is when you find yourself thinking about the questions it raises months and years after you watched it.
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  • Patricia
    5.0 out of 5 stars Esta bien
    Reviewed in Spain on February 15, 2021
    Verified Purchase
    Película bastante fiel al libro. Aunque como suele pasar el libro me ha gustado más. Aún así creo que no es de las que ves y decepciona. Las actrices lo hacen muy bien. Y es una película que he visto varias veces.
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  • Ray
    5.0 out of 5 stars Zerbrechliche Teenagerzeit...
    Reviewed in Germany on November 10, 2010
    Verified Purchase
    Ein US-Südstaatenkaff Mitte der 70er Jahre:
    Die Strassen sind herausgeputzt, die Wiesen vor den Häusern sind perfekt, wie auf einem Golfplatz. Ulmen umgeben die Straßen, alles sieht porentief rein und paradiesisch aus.
    Dort in dieser erzchristlichen Umgebung wohnen in der Nachbarschaft die Lisbons. Der Mathelehrer der Schule Ronald Lisbon (James Woods) und seine erzkatholische Frau (Kathleen Turner) mit ihren 5 blonden und hübschen heranwachsenden Töchtern Cecila - 13 Jahre (Hanna Hall), Lux - 14 Jahre (Kirsten Dunst), Mary - 15 Jahre (A.J. Cook), Bonnie - 16 Jahre (Chelse Swain) und Therese - 17 Jahre (Leslie Hayman).
    Die Erziehung bei den Lisbons ist sehr streng und konservativ, aber sie bezeichnen den Umgang untereinander als liebevoll und tatsächlich strahlt die Familie eine gewisse Harmonie aus.
    Die gleichaltrigen Jungs aus der Nachbarschaft interessieren sich natürlich für die fünf Lisbon-Teenager und sie erzählen diese Geschichte, die von Sofia Coppola 1999 nach dem gleichnamigen Roman von Jeffrey Eugenides verfilmt wurde.
    Gravierende Probleme scheint auf jeden Fall die 13 Jährige Cecilia zu haben, die sich in der Badewanne die Pulsadern aufschnitt und in letzter Sekunde gerettet werden konnte. Der Psychiater Dr. Horniker (Danny de Vito) bekommt in den Sitzungen nicht viel von Cecilia zu hören, er tut aber intuitiv das Richtige, indem er den Eltern empfielt, dass das Mädchen soziale Kontakte - vor allem auch mit dem männlichen Geschlecht - suchen soll und die Eltern sowas fördern müssten.
    Gesagt, getan: Es findet bei den Lisbons die erste und einzige Party für die Mädchen statt, die Nachbarjungs werden eingeladen und da es die erste Party in dieser Art ist, läuft alles etwas zähflüssig, schüchtern und bemüht ab. Als gerade etwas Stimmung aufkommt, geschieht allerdings etwas Entsetzliches.
    Cecilia springt aus dem Fenster und wird von dem gusseiseren Gartenzaun aufgespießt. Der Freitot des Mädchens beschäftigt die ganze Stadt, sogar im Fernsehen wird davon berichtet. Für die geschockten Eltern Grund genug, die Erziehung noch strenger zu halten. Als sich Trip Fontaine (Josh Hartnett), der Traumboy der Schule in Lux verliebt, möchte er mit ihr ausgehen. Doch so einfach ist es nicht eine Erlaubnis von den Lisbons zu bekommen...
    Das Regiedebut von Sofia Coppola beginnt mit einem Satz des Erzählers, der sofort klar macht, dass sich alle 5 Lisbon Mädchens suizidiert haben. Der Film beschäftigt sich mit der Frage, wie so etwas zustande kommen konnte, gibt aber letztendlich keine Antwort vor, sondern lässt den Zuschauer beobachten und eigene Schlüsse ziehen, aber auch Geheimnisse entdecken.
    Der Todesweg der Mädchen wird in sehr weichen, fragilen Bildern gezeigt, das grausame Mysterium hinter der schönen Fassade bleibt versteckt und lässt sich nur erahnen.
    Dabei ist der hochtalentierten Regisseurin eine atmosphärisch perfekte Mischung aus Mystery-Thriller (hier erinnert er ein bisschen an "Picknick am Valentinstag"), Drama und Teeniefilm gelungen. Die Insenierung ist sehr sensibel und setzt auf Melancholie und sanfte Elegie. Dabei steht der Anspruch auf religiöse Erziehung im krassen Widerstreit mit der Gefühlswelt eines Teenagers.
    Nachdem mir Sofia Coppolas Erstling schon beim ersten Mal sehr gut gefief, hat es mich jetzt bei der Wiederholung ganz gepackt und der Film hat mich auf den zweiten Blick total begeistert. Für mich definitiv einer der besten 10 Filme der 90er Jahre.
    Der Film ist leider trotz Kultstatus immer noch so etwas wie ein Geheimtipp...
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