cc licensed flickr photo shared by Daniel Semper

My name is Salmon. Like the fish. First name Susie.

Ah, and with those words, one of my most beloved novels has come to the big screen.

Gotta tell you that with all my film reviews, spoilers may occur. Deal with it. If you’ve not already read this wonderful book, go do it and then come back.

In 2005 I wrote a novel about a dead girl living through the lives of those still alive in her high school. A book where you don’t even discover how she dies until the waning pages. At the time, several people mentioned a little book to me called The Lovely Bones that I should read since it sounded like I was copying Alice Sebold. I assured them I wasn’t, wrote my entire book, and then picked up this gem.

I adored the irony of the conclusion to the novel and subsequent film, but I was hesitant to push this one towards my wife. See, my own daughter was just born and the rape scene before the murder still haunts me. I suggested that my wife never read the book because of that scene, and I sure have read some wild stuff over the years.

I had no idea how Peter Jackson, director, would handle this early scene, which, in part, was based on the author’s own experience in college. Fortunately, it was unlike my novel but anyway I still fell in love with such a wonderful book. After hearing it was on its way to the silver screen, I waited patiently. And waited. And waited. Wow, did I wait for a long time. But today I got to see it.

That rape scene? Cut out and barely even implied (and maybe I only thought it was implied because I knew the narrative beforehand).

Awards season is upon us and art direction stood out for me, to the point where it didn’t stand out which was perfect. There were a few scenes where I paid particular attention to the authenticity of the frame and I was pleased. The costumes (especially Ronan’s outfit) worked very well for me, and this “era” just worked for me.

People always talk actors when reviewing any film, and I went knowing that Tucci has been getting rave reviews for this film (and has been nominated in several awards so far). I didn’t realize quite how wonderful his performance was until he spoke in the film. He almost fell into the character to the point where I no longer watched Tucci. I watched a sad, depressed killer. He played it perfectly subtlety.

Even the subtlety of his lightened eye color, whose similarity to Ronan’s mesmerizingly pale blue, didn’t escape me. As for Ronan, I was lost in those eyes, albeit I’ve never seen her previous work for which she’d been nominated for an Academy Award. While Ronan’s performance here has the critics talking, for me, Rose McIver as Lindsay Salmon, Susie’s younger sister, stole the film. McIver began as the younger child like sister but after Susie’s death Lindsay matures into a woman, almost as obsessed with finding the killer as her father Mark Wahlberg is. Her onscreen transformation worked very well through the development of the plot, and I am eager to see her future dramatic work.

I enjoyed Wahlberg’s performance perhaps because I too am close to my daughter, Sarandon was hilarious as Susie’s boozy, chain-smoking grandmother but I never stopped wanting to shout “Damnit, Janet!” at the screen. Weisz and Imperioli round out the class. I enjoyed Imperioli’s role (no matter how small it was) but Weisz’s talents were terribly under used. Having seen much of her former work, I expected more from the role although I did understand that Susie’s mother’s healing required her to fall into herself.

I agree with the critics that Peter Jackson could’ve done more with the film and the special effects were well done (more than half of the film was a blue screened Susie-styled purgatory) but the film, if nominated for an Oscar for special effects, cannot beat Avatar in this category.

As with any book made film the critics will lambast certain perspectives and lack of development, and my only concern really lay in the characters of Ruth Connor and Ray Singh. If memory serves Sebold gives more time to these two characters, and while Singh moves in and out of the narrative as Salmon’s almost first love, his relationship with Ruth and then Ruth’s posthumously relationship with Susie could’ve been more fleshed out. Here was my single disappointment with the film. Albeit Jackson’s subtlety of the relationship of the two living teens works well and did well to not overshadow Susie’s tale. Moreover, while the irony of Tucci’s demise is not lost on Sebold or Jackson, some audience will leave the theatre scratching their heads; hopefully, to only return again and again to see this wonderful film.