IMDB.COMLost in Translation
Starring: Bill Murray, Scarlett Johansson, Giovanni Ribisi
Directed by: Sofia Coppola
Playing at: the Hi-Pointe
Grade: A+
Although much ink has already been spilled over Sofia Coppola’s fantastic new film “Lost in Translation” (see Tyler Weaver’s column “Murray, Found in ‘Lost'” from 9/24 for a thorough review of the actors’ performances), such a masterpiece deserves a review proper from us here at Cadenza. Contained within its ethereally filmed, immaculately acted confines is more beauty, eloquence, and realistic human emotion than is to be found in any other movie from the past few years. From this sublime little story about a chance meeting between two strangers we receive a universal message of friendship and career-high performances from almost everyone involved.
Opening with a shot of Scarlett Johansson’s thinly-veiled posterior, the film moves right along to Bob Harris (Murray), a past-his-prime actor who’s journeying to Japan to film a whiskey commercial. Awakened by the incessant neon lights and urban din of Tokyo, Bob opens his eyes just in time to see an illuminated billboard ad displaying his own image, forcing him to do a double take. At the hotel, we are treated to some light physical and situational comedy, including Bob adjusting his tiny shower head, towering over the Japanese in the elevator, and pulling a George Jetson with an elliptical machine. Things don’t fare much better at the commercial shoots, where, covered in mascara and fitted with a pinned back tuxedo, Bob tries to understand the commands of the chattery director and pulls out his best “Lat Pack” impersonations. “Am I drinking? Yes, as soon as I get out of here,” he quips.
Fortunately, there is a kindred spirit, similarly disillusioned by life, just waiting to meet Bob at the hotel. Charlotte (Johansson), a thoughtful, lonely twentysomething, idles around the massive city while her husband John (Ribisi) works at photo shoots all day. We follow Charlotte to a Buddhist shrine, where she is sadly unmoved, and through a noisy video arcade, where patrons simulate real life activities (guitar playing, dancing, shooting, etc.). It is inevitable that these two insomniac Americans, weary of photographers and seeking personal connections in a foreign land, should meet and start such a bittersweet, ephemeral friendship.
It is this relationship that drives the film, and Coppola explores its every facet, from the most offhand remark to the slightest glance. Murray and Johansson exhibit a supernaturally strong chemistry that’s surprising for actors of such differing ages (Murray is 53 this year; Johansson will be 19 in a month). Their friendship feels as real as any we have experienced in our lives. Both are confused about their life’s direction: Bob continues to drift further from his nagging wife, who rears their children alone, while Charlotte already feels distant from her husband and doesn’t know how to put her Philosophy degree from Yale to good use. In one of the film’s most powerful moments, Bob and Charlotte discuss and bond over parenthood. The conflicting aspects of their relationship-the parental, the platonic, and the romantic-come to a head, but Coppola skillfully guides the scene to a perfect conclusion, with Bob gently touching Charlotte’s foot. It’s a seemingly insignificant and unexpected act, but it manages to move us in a way that no kiss ever could.
Coppola fills her movie with such images, delicate shots that don’t necessarily further the plot but rather inculcate a feeling. She takes us from green golf courses, where Bob seemingly takes a shot at the looming Mt. Fuji in the background, to quiet Kyoto temples where tiny paper ribbons crinkle around tree branches. The shots of Tokyo are no less impressive, conveying a sense of man-made majesty but also stark, impersonal vastness. Her choice of music is also unparalleled, a music nerd’s dream come true. From the opening swell of guitars by Kevin Shields, formerly of My Bloody Valentine, to the closing reverb of the Jesus and Mary Chain’s “Just Like Honey,” the film’s dreamy soundtrack mirrors the characters’ unreal journey through Tokyo. Bob and Charlotte also perform some well-chosen and often hilarious karaoke numbers, including Elvis Costello’s “(What’s So Funny ‘Bout) Peace, Love, and Understanding” and Roxy Music’s “More Than This.”
Ultimately, there are too many wonderful aspects of this film to discuss within this cramped space, and all that remains is for you to go out and see it yourself. Coppola hinted at greatness with her suburban study “The Virgin Suicides,” and now her skillful directing is in full bloom with this funny, moving work. As one patron wistfully stated at the film’s conclusion, “I didn’t want it to end.” You too will get wrapped up in this beautiful examination of a relationship. If you spend your money on one movie this semester, make it “Lost in Translation.”