Virgin Suicides belated review

Watched the virgin suicides for the first time. Filling in some puzzle pieces here...cascade of problems. One goes, the others feel more trapped, scared of being abandoned, being disowned by their parents. Sequentially one death leads to more irrational blame bestowed on the other children by the mother, and they fear their situation only should become worse...here seemingly more sensible since one were talking about children or adolescents whom hadn't shaped their own sense of independent identities. Circumstance, situation, environment. Children blamed irrationally for the death of other siblings, but it seems this could be something of a surface read surrounding the events having unfolded.

The other sense were that at least in the initial case, one death were more a child/adolescent exploration with mortality, and that such death at times incidentally results in exactly what the child/adolescent were seeking. Cecelia hadn't realized as much that death incidentally may be lurking. She witnesses one boy toying with the idea of his mortality by way of his passion, and thinks equally the outcome of a roulette with life and death could equally be life itself with her? At least she must have considered, like so much of youth neither bound by experience and pragmatism in life, a sense of some passion. Cecilia is disturbed by her present life. The coin tossing and repeated suggestion at beck and call of repeated heads, suggests something of a determinism, the certainty that adolescents should have regarding life and death, that life were inextricably bound in the way of seeing life as inevitable for those of youth and having some testing disregard of it, but perhaps at some suggestion of determinism and inevitably, the plot seems more biased and certain in so far as the dynamic and difference between the sexes here. One empowered over the other. Cecelia's first attempt suicide attempt fails, her next does not, and I would suggest this is merely incidental. If the fence hadn't existed proving fatal to her, she might have equally lived like the boy she witnessed, having only suffered embarrassment and  nothing worse by it. Again leading to the differences between her circumstance and the boy that she had witnessed. The boy were suffering from passion, and were granted right to his emotions and passions, suggesting rite of manhood and freedom. Again this were embedded and suggested more subtly so as to draw the onlookers attention and predilection that the boy jumping from his window were somewhat strange by today's standards but really a humorous caricature. How often do men and women now with certain boldness make sport of any number activities that rarely should be criticized as suicidal itself(?)...Popular outdoor adventurerist/climber/alpinist Jon Krakauer managed to discuss more candidly the role of the something modern alpinist phenomenon, they could rightly be suicidal, and with some liberty in paraphrasing, they're given different moral license and virtue for it. The same could be said for a something crazy hero that might emerge motivated not be altruistic consideration in saving others but nothing more then an adrenaline junkies looking for a fix. The difference between good, right, and virtue here were justified by the ends having been served. For example, exploration of death for the soldier in wartime combat could be a noble cause (although you'd probably be hard pressed to here him/her using this terminology today), while a similar exploration for a suicidal teenage girl, a major problem. While Cecilia's passions should hint of emotional disturbance and something wrong in essence with her as a person, only clearly defining a sense of sexism and bias. Joe appears on scene at the party. He is made over by everyone in the party. She is incensed and embarrassed that her emotions and subsequent actions have set her apart from others in the context that she is 'different' relative to them. Perhaps she feels set aside, or that her life will never by the same likewise? Cecelia's journal seems nearly dropped to her witnesses (the boys), either as though she were proving to others that anything were held to some greater mystery...thinking of her first suicide attempt and holding a card of the Virgin Mary...and here something of the novel/script suggests of the underlying differences between the Lisbon girls remaining mysterious, hidden, and unknowable to the boys of their age, and in some sense in a timeless fashion suggested by the author and any ancient credit therein. Had she felt distraught in some ways maybe having felt revealed in the first suicide attempt, that anything of another emotional current should be known by others that weren't revealed even in her most private of journals, and having felt some sense of betrayal in life by here passions being revealed? Also owing to the traditions in ancient Greece suggestion of mysterious rites, delineating of difference between by masculinity and femininity(?) Her freedom and virtue it seems must exist neither in having shown her passions outright but one that were held secretly as her own, never written, never expressed about openly.

The outcome of life were illusory for Cecelia, if not for the outcome of life for the Lisbon family by way of foreshadowing. There is also suggestion of repression with respect to taboo and forbidden ideas more obviously, a father better equipped to emotionally talk to plants then speak honestly and emotionally to his children, a mother emotionally unhinged in strong and suggestive repressive undercurrents, at times severely withdrawn, and other times overbearing...however, driven more so precipitously by the death of her daughter Ceclia. This seems to be a common theme it seems in Greek tragedy's that emotional repression leads to the most disastrous and obscene consequence, hinting that even the playwrights must have acknowledged or poked fun at the degree of identity and role taken on by men and women of their day. Of course, often times story telling such as this were in design to draw people emotionally into a writings and contains something of exaggerated narrative, not that at times something of a resembling reality might be found on occasion. Ultimately boundary and limits should prevail in so far as one's emotional suffocation identified as a source of spiritual and emotional suffering.

While Cecelia's death hadn't fully precipitated the tragedies to come, it were Lux's metaphoric death prior to a literal, fall from grace, having brought furthered tragedy to the other girls. Again differences in sex, coming of age for boy, sexual promiscuity acceptable while for the girls, this should remain amongst other things untold, not talked about. One could sense for the girls possibly some sense of shame, by way of the scrutiny shown towards their family because of the Cecelia's suicide, but only furthered by what were the gossip having circulated of Lux and her having been an 'easy' conquest to Trip. Only the imagination of the boys were driven so much of the girls repression, and what interests would they have shown of the girls, if the girls weren't locked in solitary, kept that much more from view, having remained that much more unattainable. The boys hinted at their enchantment of Cecelia so much that they deified her as an Indian goddess, and as to the other girls, more were left to imagination. The girls should equally versed in some manner of their own mystery power and seduction, and this were in their having been removed well enough in life from the boys, but having so easily seen interest faded when Lux made herself so accessible to others. Whether the girls toyed with the notion at first with the idea of suicide, remains hidden and unknown. Perhaps one committed suicide before the others reached any pact, or they had, but just one remain committed enough, but reality is different relative to once ideation now having been substantiated. One supposes the others fear so much in life, having been revealed that much more for previous fantasies, ideation, emotional disturbances, dead to others, and Trip in retrospective reflection suggesting his love and fascination with a girl since dead from suicide more so then her being loved if she were living. One could sense what Lux may have sensed of the culture of her times, that girls all to accessible should seem all too uninteresting. While it were hard to read anything of clear resentment for the other Lisbon girls, where only a flash might have been shown by Ceclia, and possibly Lux in some manner. Their fascination with dreams and travel, should seem fitting to the idea that reality itself were never in keeping. They weren't clearly resentful of the boundaries drawn, or at least drawn into the alms of passive femininity, their clearest expression of desire were removed. Authorship seems ancient on this point attempting to portray more so an archetype of a gender role. It seems the other Lisbon girls deaths would remain a mystery likewise. Again one suspects the others felt emotional bound in a point of no return, once their emotional pact were set into motion, and Lux finally having felt some sense of guilt, hadn't wanted to die, but her death were either in riding in the car forever with the boys away from any previous inkling of a life forever, or she should die then and there. It seems Lux wanted the boys to witness and know something of the girls inner most truth...the boys wouldn't be coming, however, only revolted with fear and shock, and her life were over.

Period setting should seem plausible here, but one should feel hard to know in so far as tangential relation even to this provided context. Aside from the seeming strange, bizarre, and often regarded notorious suicide pacts in recent decades. More likely one should expect involving some cult of one form other. Times in the eighties might have also served better expressing the popularly expressed suicidal ideation whether found in Ozzy Osbourne lyrics, or the lyrics of other contemporary popular artists of such times. Most definitely a more modern context should seem baseless in so far as describing the freedom and rights of child adolescence and the differences between the sexes and traits of personality. Today especially where it seems where more then ever at times, gender and roles have blurred between the sexes.