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Instead of giving her a role, he asks her for little more than a single expression. But Jackson requires nothing of her beyond that look of alert innocence.
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Susie is played by Saoirse Ronan, the young actress who gave such a marvelous performance in the 2007 film " Atonement," and it's perfect casting: Ronan, with her translucent skin and unblinking, observant eyes, has the look of a wide-awake but confused angel, a girl trapped between two worlds. But Jackson (aided and abetted by frequent collaborators Fran Walsh and Philippa Boyens, who co-wrote the screenplay with him) has reinvented Sebold's story in the most facile and heedless way imaginable: He's turned it into a supernatural thriller. "The Lovely Bones" is a fiercely delicate and often funny piece of writing, a work of fantasy with a solid footing in reality, and it wouldn't be an easy book for any filmmaker to adapt. The story Sebold tells here is less about victimhood than it is about the interior lives of families she explores not just the ways in which they cope (or fail to cope) with grief, but the weird little mechanisms that make them tick in the first place, the things that only an outsider - a dead girl, watching from somewhere else - can see clearly. Susie finds herself in a teenage girl's version of heaven - a heaven filled with the things she loved in life, including dogs and ice-cream shops - from which she can view the world, specifically her family, as it goes on without her. Sebold's novel tells, in the first person, the story of a 14-year-old suburban girl named Susie Salmon who, in 1973, is raped and murdered by one of her neighbors.
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Adaptation is an art, not a science, and it's a thankless job to boot: Not even the most graceful filmmaker can escape the carping of the "Movies are always inferior to the books they're based on" crowd.īut with his garish, pointless and downright inept rendering of Alice Sebold's 2002 novel, " The Lovely Bones," Peter Jackson has hit a new low in the annals of movie adaptations.
He can rely too heavily on the use of voice-over he can miscast one actor, or every actor he can simply fall down on the job of capturing the lyricism or muscle of a particular writer's prose, as plenty of great directors have done. There are all sorts of ways to botch a book-into-film adaptation: A filmmaker can be too cavalier about changing an author's character conception or meaning, or he can be so slavishly respectful of those things that he fails to make a work that resonates cinematically.
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