Peter’s early films were famous for bloody violence. This time Peter Jackson gave up his spoof and black humor, but turned the lens to a 14-year-old whose body has died but his soul still refuses to leave. Susie, a young girl, observes the lives of her relatives, friends and murderers in the ten years after her murder from her perspective and feelings. The father insisted on finding the killer. His obsession was a crazy behavior in the eyes of his wife and friends, so the wife left home and the police friend stopped helping him. Finally, my father found out who the murderer was, but due to lack of evidence, he could only make an effort to see the murderer get away with it. Ten years later, just as the dislocation and fracture of the bones will slowly grow back, the relatives can finally face Susie's departure calmly, the mother also goes home, and the family resumes a happy life. The murderer fell off a cliff and died in an accident. And Susie's heart has also changed in the past ten years, from reluctant to give up on her relatives, wanting to avenge herself, to calmly observing the lives of her relatives and murderers, and finally leave with relief. Susie's thought activity is a plot line of the whole film, and this line is consistent with the process of Susie's family healing grief. Although the film is about murder, it is full of warmth and romance in seriousness. Although Susie died, but the deep family affection and the newly born love made people feel warm, and the "middle zone" between the world and heaven where Susie's soul was located was set by Peter Jackson. Beautiful.
Compared with ``Angels of Sins'', the film is more complete in narrative techniques and more mature in expression techniques.It did not deliberately show Susie's happy time during her death in order to highlight the tragic color of Susie's death, but only tells some ordinary life. Fragment, Kan is just this kind of plain and warm life scene that makes people nostalgic. The "Middle Zone" is not as dark and weird as the "Fourth World" in Juliet and Polling's fantasy, but is full of sunshine, full of vitality and hope, and the transition between reality and illusory scenes is more natural and without traces. Although Peter Jackson gave up the spoof in the film, he still showed his childish side, such as the death of the murderer. Under the rule of law, he pays attention to evidence. Although the neighbor David is indeed the murderer of Susie, he still lacks evidence. Instead of being brought to justice, he can live normally, which makes the audience very unacceptable but helpless. However, Peter Jackson let him fall to death from a cliff, unexpectedly but relieved his hatred.
Deconstructive violence
Violence has always been the signature action of Peter Jackson's movies. The only violent scene in the film is the passage where Susie was killed. kill. The lack of direct bloody scenes does not affect the effect of this violence. The concealment of the visual presentation makes the audience more psychologically shocked, making the audience feel that the murderer is so cruel. This is the essence of Peter Jackson's movie violence.
In "Lovely Bones", there are only a few blood stains that show that the young girl Susan was killed. The violence displayed at the crime scene was weak, and the tragic state of her death has never been shown directly. With the further development of the plot, the audience learned from some words and the murderer's crime data that Su Yin was cruelly mutilated after his death, and the body was placed in a safe! This is more than the direct bloody show of Susie's killing process by the director. It is even more frightening and panic. The violence at this moment has left a deep mark in the hearts of the audience very clearly. The film also proves once again that Peter Jackson is able to converge on visual violence and control psychological violence.
One of the reasons why "Lovely Bones" can be accepted by most of the audience is that there are few scenes that directly show blood and violence in the whole film. Even the scene of the perverted murderer killing the girl Susie is cleverly hidden. Get up, and Susie's so-called "revenge" is only trying to remind her relatives, and does not achieve the purpose of revenge through the "special power" of psychics like "Human Ghosts Are Not Left". What the parents can do about Susie's death, except to miss, can only rely on the incompetent police. This kind of plot setting, which completely relied on the state machinery to solve the case and the murderer was still at large, could not have appeared in Peter Jackson's previous movies. Obviously, that kind of purely relying on violence to solve all problems is no longer suitable for a rational society under the rule of law, and relying on the police to solve cases is not only in line with the characteristics of realistic themes, but also an important means for Peter Jackson to further eliminate violence.
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