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"The Virgin Suicides", dir. Sofia Coppola
"CQ", dir, Roman Coppola

Francis Ford Coppola is arguably one of the most important film directors of the past 30 years, with landmarks films such as the first 2 Godfather films, The Conversation, and Apocalypse Now to his credit. In the last few years, 2 of his children have made their Major Motion Picture Directorial debuts; Sofia with 1999's The Virgin Suicides and oldest living son Roman with 2001's CQ, recently released on DVD. Sofia made her film debut in 1971 in The Godfather, as the infant son of Michael Corleone during the classic "baptism" scene. She later found screen time in the infamously mis-cast role of Michael Corleone's Daughter in the unfortunate 3rd Godfather film. Brother Roman found chops behind the scenes of many of his fathers films in the 80's and 90's - doing everything from sound design to second unit direction, and notably, Visual Effect Direction on 1992's ornate Bram Stokers' Dracula.

When the siblings each decided to make the big jump into direction, they made similar decisions: 1) Each is a period piece, during their lifetimes. 2) Each wrote the screenplay themselves. 3) Each is told from a male point-of-view. 4) Each has a hip, electronic euro-pop soundtrack. 5) Each has stunt-casting from acting veterans that no non-Coppola child would able to cast in an "independant" film, much less a "first" film. 6) Each features a small role by a son of Talia (Coppola) Shire-Schwartzman. and 7) Finally, they are both solid debuts, showing that the training of being Francis' child has it's benefits.

The Virgin Suicides is adapted from Jeffrey Eugenides' novel which tells the tragic story of the 5 Lisbon sisters, all of whom kill themselves. Ranging in age from 13 to 17, the story of their melodramatic decent into despair is the plot of the film, if not the meaning. Told in voice-over retrospect from memory of a now-Adult boy who grew up across the street from the sisters, the film taps into a melancholy nostalgia that many grown men remember: "the girls across the street". All at once - the first friends, curiosities and sexual obsessions, many of us learn much from our first close experiences with females. Suitably, the tone of the film is of an impressionistic, idealized childhood. Director Sofia uses stylized slow-motion, freeze-frame, diffused lenses and sweeping camera work to convey the idea of memory and a "golden age" that we all subconsciously compare to our resulting adulthood.

The Virgin Suicides features a number of young unknown actors, but stars Kirsten Dunst as the 14 year old sex kitten Lisbon around whom the plot (and the fixations of boys) rotate, as well as surprisingly against-type work by James Woods as the repressed Lisbon father: a High School Math Teacher; and Kathleen Turner as the pious and controlling Mrs. Lisbon, who comes to regret her choices in child-rearing. Oh, and Josh Harnett plays a cool, good looking shallow guy - just like every other role he's been cast in. All in all, the film is well acted and affecting.

The music in the film is a mix of 2 different Genres: 70's pop-rock (think Todd Rundgren and Heart), and the original score by French Euro-Pop duo AIR. The Classic Rock defines the time and place of the film. AIR take a distinctive and appropriate stance with the soundtrack: piano, harmonium, and acoustic guitar create a sensitive and uplifting mood, which complements the nostalgia of the film, while counteracting the morbid outcome that you know the film ends in - forshadowed by the title of the film. I liked it enough to buy the score and I play it as nighttime music. It stands on its' own, if you enjoy that sort of thing.

The Virgin Suicides is an impressive first film for Sofia Coppola. The choices that she made in casting, music, cinematography and the script show an impressive intelligence that may lead to a long career in movies. The story she chose to adapt: it's curious. I haven't read "The Virgin Suicides", the novel, but it strikes me as the sort of story that 16 year-old artsy girls would embrace: a novel that crosses the sentiments of "The Bell Jar" and "The Catcher in the Rye." All in all, a really strong alterno-Chick-Flick.

Roman Coppola's CQ is a film within-a-film, with another film on the side. It's a movie about making a movie, and then another one, which automatically tells you something about the director/writer: he is interested in film, and assumes you are too. Luckily, I am. The film takes place in 1969 (at which time, Roman would've been 4) in Paris. The protagonist, Paul ("Spanking the Monkey"'s Jeremy Davies), is a twenty-something American truly lost in a world of his own making. He's got a beautiful, passionate and painfully honest Parisian girlfriend. He is torn between the need to pay his bills and his own "artistic vision", which seems ruefully vague. By day, Paul is the editor for a Barbarella-like T&A sci-fi spy film directed by a "counter culture" auteur played by Gerard Depardeu. Naturally, the film is taken from such a "revolutionary artiste" and ultimately, handed over to Paul. On the flip side, Paul spends a lot of time in his apartment filming everything in his life, from soap bars to ferns, trying desparately to find something interesting to say as an "artist". This is most engaging when he is sitting on the toilet filming himself while he fantisizes about being questioned by appropriately snooty european film critics. This speaks volumes about the film (CQ) and the character - who is a veiled voice-box for director Roman, and perhaps - his memories of father Francis.

CQ is an entertaining film. It's not as pretentious as it may sound. The first film-within, "Agent: Codename: Dragonfly" is a wonderully campy and accurately filmed Barbarella knock-off with all the genuine trappings: cheesecake and fur-lined flooring. "Dragonfly" herself is played with engaging charm by model Angela Lindvall. She's sooo cute. There are spys and a snowy romp on the moon, and leather bodysuits. The film score, by "Mellow" is - a modern synth-James Bond score. Jazzy and saucy. And a whole lot of fun. The great thing about this film is that you can watch a sexist late-60s' sci-fi spy romp without having to sit through the slow parts. And the CQ's slow parts themselves - the parts with Paul's inner turmoil and drama, aren't half-bad either. They are just . . .obvious. If the film was nothing but Paul's story - without the "Dragonfly" distraction, we'd be in serious trouble. Thankfully, Roman Coppola knows we need a little sugar to help the medicine go down. And in the end, Paul lives happily ever after and reaches all his goals. Isn't that sweet?

Stunt Casting: Italian film veteran Giancarlo Giannini (Hannibal) as "Dragonfly"'s producer, the aforementioned Depardeu, Dean Stockwell (Quantum Leap, Blue Velvet) as Paul's dad, Billy Zane (Titanic's CAD "Cal") as Dragonfly's lover/antagonist, and Coppola cousin Jason Schwartzman (Rushmore) as a smug-ass "enfant terrible-auteur" director. (But the boy is amusing.)

Both of the Coppola siblings have intelligence and talent. They may both have long careers in film - and rightfully so: it's their birthright. It's no mistake that Roman chose to make a movie about a young filmmaker torn between art and commerce, ultimately able to accomplish both. It's not mistake that Sofia chose to make a film about nostalgia for a sad and tragic childhood. These are Francis Ford Coppola's children: they grew up in an artistic, romantic and volatile envirornment. Just rent Elenor Coppola (wife/mother) and Fax Bahr's Hearts of Darkness to get a glimpse into their childhoods. How would you turn out if YOUR dad spent 3 years in the Phillippines making Apocalypse Now? You might just end up with talent, and just as much neurosis.

- Ian, Oct 28, 02

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