The Virgin Suicides

The Virgin Suicides is about the deaths of five young sisters in the Grosse Point, Michigan neighbourhood where they lived during the 1970s. The five young sisters were thirteen-year-old Cecilia Lisbon, fourteen-year-old Lux Lisbon, fifteen-year-old Bonnie Lisbon, sixteen-year-old Mary Lisbon, and seventeen-year-old Therese Lisbon. The four older girls, particularly Lux, who caught the attention and desire of the young men in the area. This novel has an extremely odd first person plural written work style (Cinebrary 2013). The storyteller is an unidentified individual from a group of young boys who are entranced with the Lisbon sisters. The storyteller is unidentified because although he is one of the specified neighbourhood young boys, he
This paper is a comparison of the novel and the film, and their stylistic, textual and structural compositions that reflect on the themes of the play.
The story takes place after every one of the five little girls committed suicide over the course of a year. The first one was Cecilia, her suicide happened an entire year before any of her sisters. In the film, the storyteller talks in the ‘we’ and originates from the perspective of one of the young men in the area who fell in love with the young girls and frantically needed to help them. After the girls killed themselves, the young men spend the rest of their lives attempting to make sense of why these five sisters ended their lives (Dietsch 2009). On film, The Virgin Suicides is a first person plural account voice, i.e. we is used for I. The voice in The Virgin Suicides is the outlandish recommendation of a collectivity, a group talking as one. The cinematic adaptation of a work
The film offers a broad view for the viewers to see the effects of the deaths on the young men's ideological coding of the sisters, not least when it shows them callously spying through their telescope on Lux's sexual adventures on the rooftop. However, the film’s methodologies of deaths have a tendency to liken the young men's perceptual deaths with their sentimental admiration of the sisters. The film occasionally supports basic death of their admiration in that capacity, lessening the likelihood for Eugenides' inferred amusing edge (Shostak 186). All of suicides appear to be coincidental at the beginning, yet return to the film later on, which truly makes the viewer feel like a part of the young men's club of avenging saints. The feeling of not having the capacity to enter someone else’s mind is one of the story’s themes. Indeed, even the sisters' own father, who was different and lived in the attic, had no clue about what was happening in their minds as they arranged a detailed suicide, which happened in the area where those young men were living (Dietsch 2009). Be that as it may, if the storytellers dismiss what they listen to, it is just to strengthen their dimly sentimental originations of the sisters. Neither the energetically listening young men nor the reliably dry voiceover opposes the portrayal of the