1 in 4 women will be assaulted in her lifetime. The rest of the book is a deeply moving testimony of the undying love of a parent for their child, the struggle that can come from tragedy, and the deep question of "What is heaven like?".
This book describes, in graphic detail, the rape and murder of a young girl. I know all parents want to think that their child is the epitome of maturity, but I would strongly suggest an objective look at your child's mental state before you let them read this book. It *does* contain themes that are highly adult and not appropriate for teens who are a little less mature. This book is both heart-wrenching, inspiring, and horrifying all the same time. And Susie’s diaphanous appearances - and a girlfriend (Carolyn Dando) who can “see” her - suggest “The Sixth Sense.Parents, you should read this book before your child does. The suspense of Susie’s sister (Rose McIver) breaking into George’s house to find a damning trace of her sister is pure Hitchcock. The film certainly plays well enough as a melodrama-cum-revenge thriller. It just barely has time for the story’s most colorful character, the alcoholic grandmother (Susan Sarandon), who moves in and takes charge of the nearly dysfunctional Salmon household. The movie relies on the emotionalism of a young girl murdered and an unrepentant killer lurking nearby. Meanwhile, her heaven is a timeless fantasia that reflects her mental outlook. It’s as if Susie, in heaven, imagines the town in her mind rather than as she actually sees it. Earth is a suburban, small-town America, more idealized than real. Jackson paints a surreal outdoor palace of changing seasons and environments with rainbow colors and swift-as-thought transitions.Īndrew Lesnie’s cinematography and Naomi Shohan’s production design make earth and heaven not-quite-authentic places. This heaven, described only sketchily in the novel, permits Jackson the full range of his visual imagination. Her piercing blue eyes and heartfelt anguish animate both heaven and earth. She is the glue that holds the story together. Saoirse Ronan, so impressive in “Atonement,” plays Susie, and she’s terrific. In the film, he has no clue who murdered his daughter he just goes nuts. In the novel, the father immediately senses that George killed his daughter but has no proof, so his mental deterioration makes sense. In shifting the emphasis, the film version must all but abandon the crumbling relationship between Susie’s dad, Jack (Mark Wahlberg), and mother, Abigail (Rachel Weisz), and dramatically alters the nature of the police detective’s (Michael Imperioli) involvement with the family. It even has Susie rage in heaven against her murderer, demanding vengeance.
And, like any crime thriller, it worries about the killer and how he will get caught. The film ventures only about a year into a future without Susie. They see their movie as a murder thriller, so the role of the killer, George Harvey, has been expanded and is played by fine actor Stanley Tucci (almost unrecognizably so). The movie, written by Jackson, Fran Walsh and Philippa Boyens, is more concentrated, in time and focus. A few characters even realize she never completely left they sense her presence and, on occasion, believe they see her. In literary terms, she is a first-person narrator and an omniscient observer: She can enter the minds of other characters to know what they’re thinking and can even see into the past.Īs the years roll by, she witnesses how healing slowly comes but at great cost. She can thus describe with an empathetic dispassion her own rape-murder and her family’s realization that the eldest daughter will not be coming home. Sebold’s stroke of genius is to place her heroine in heaven immediately. Her family goes through hell - her dad having the most difficult time dealing with her disappearance - while her killer, a neighbor, covers his tracks. She is adjusting to her new home in heaven while watching life on Earth continue without her. “Bones” is the story of Susie Salmon, a 14-year-old girl who is murdered Dec. This is, to Jackson’s credit, daring and deeply unsettling material. Whether “Bones” will sustain those numbers as it expands domestically and then into foreign territories in January is unclear.
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Readers’ eagerness to see the film version, plus Jackson’s name above the title, should deliver a significant boxoffice take during the film’s initial release.
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