SUSIE SALMON THAT YOU ARE IN THE SKIES

To speak about the death from a complaisant and coloring optics needs big tact quantities and bears the risk of turning out to be grotesque. This is something that Javier Fesser did, at the edge of the abyss, with “Way“ or that vehicle for the splendor of one for then in heyday, Robin Williams, called “Beyond the sleep” of disastrous reception.
The adaptation of the very well-read novel of Alice Sebold, “From my sky”, was proposing precisely this dilemma, although, in hands of Peter Jackson it was looking like a more trustworthy and promising project from what in the beginning it could result, especially if we were bringing to the memory the last one although distant melodrama of the director neozelandes, “Celestial creatures”, with that “From my sky” he could keep small similarities.
But Peter Jackson of that tape that was discovering for the movies Kate Winslet, is not the same Peter Jackson who has taken this novel as an option. In all this time, Jackson has turned into one of the big film directors spectacle, into a renovator of the visual aspect of the seventh art and into a guy used to products mastodónticos (the trilogy of “The Lord of the Rings”, the new version of “King Kong“) where to amaze at sight receives so much importance like narrating a history.
It is the aptitude acquired by Jackson to it not control herself visually the one that loses to this history of life, death and family, in that painful human moments intermingle with excessive plastic frenzies.
Departing from a devastating premise as it is the murder on the part of a pederast of a 14-year-old girl, “The lovely bones” is the history of a crime, of the distressing matrimonial coexistence with the suspense of a disappearance and of the search of the person in charge of all the damage. Quite narrated from the celestial point of view of the victim, Susie Salmon (Saoirse Ronan).
In this risky confluence between ground and sky, Jackson appears like a good chronicler of the earthly thing and a bad executor of the ethereal thing obstructing his excellent work at the time of presenting and developing the personage of the killer neighbor (personified with big wise move for Stanley Tucci) or of handling the facts that make a detour to the crime, by means of the introduction of superfluous images, sometimes ridiculous and more proper than a fund of office of Windows, which are all those in which young Susie Salmon looks from high at the events.
Too many minutes he uses Jackson in showing his successful one (although of doubtful taste) Eden, something that it will end up by harming to the exhibition of other subplots like the one that alludes to flagging relation between the parents of Susie Salmon (a few desaprovechadísimos Mark Whalberg and Rachel Weisz) or the irruption of the grandmother of the family (Susan Sarandon) and his relation with the small daughter of the family.
Although Jackson does not stop with “The Lovely Bones” being a producer with big sense of the entertainment, if that commits his first big blot since it turned into the director of the first line. Perhaps now let's understand because this movie suffered numerous debts in his premiere and diverse swaying in his artistic team.