Lost in Translation - L'amore tradotto

For anyone who wants a synopsis of this movie, the critics Ebert and Berardinelli have excellent, complete reviews of 'Lost in Translation', and they both give it their highest ratings.

My wife and I saw it tonight on DVD, with DTS 5.1 sound and both think it is a remarkable movie. I like Bill Murray in just about everything, and this will go down as one of his strongest performances, as Bob, the actor in Japan for a week doing whisky commercials. Scarlett Johansson plays Charlotte, the young wife virtually abandoned in the city to do her own thing as her photographer husband (Ribisi) goes to various locations for shoots.

What I liked most was the realistic feel. Being in a strange city, with unusual customs and a language you have no hope of understanding. Meeting someone who because of circumstances (age, marital status) will only ever be a friend. Being able to talk freely. Reflecting on where we've been and where we might be going. Many of the negative comments about this movie relate to an impression that it is 'boring.' I'll put on my 'maturity hat' and state that anyone who thinks 'Lost In Translation' is boring simply was not able, at least while they watched it, appreciate the inner beauty of this movie.

The scene that made the whole story come together for me was when they were in one of their hotel rooms (doesn't matter which), overhead shot, they were in bed talking, fully clothed, he is on his back staring at the ceiling, she is on her side, eyes probably closed, the tips of her feet barely touching the side of his leg, and he moves his hand and puts it on her feet. Then the scene fades to black. It is the kind of tender, non-sexual touch that tells us how close they have become, and that theirs is a relationship of mutual trust and admiration, not one of lust.

People like Bob and Charlotte really exist, and they really do meet up in very similar situations. After a week, they must go their separate ways, he to his family and activities of his kids, she to wait for her husband and figure out how to get out of the rut. We sense that he does not love her the way she needs, and we wonder what will happen.

Before IMDb eliminated its discussion feature there was a lot of dialog about what he whispered to her in the street at the end of the movie. To have made it obscure is suitable, it allows each viewer to imagine what they thought he would have said. In real life he is 34 years older, he does have a family, she is still just trying to figure her life out, to me it would have been a comment of genuine affection and encouragement that things will work out well for her, either with her husband or with someone else.

Being in a profession where there is constant noise, I enjoyed this movie for a very odd reason. The characters are pulling away from a hyped up society, away from a world, much of which is based on needless, trivial noise. Everywhere they go there is more numbing action. Watching the director of the commercial gyrating, trying to act like a real film director, despite the fact that they are doing a 30 second liquor commercial, typifies some of what this movie is about, a world where people are worn into the ground by a type A culture that is as vapid and unnecessary as we can imagine. I thought the Bill Murray character developed tremendously. While this trip to Japan was excruciatingly dull (money isn't everything), I believe that he began to see things he hadn't seen before. I liked that while he was struggling with his marriage, the crises were simple, day to day things that living brings to us. The young woman he meets shows through a whimsical kindness, that he is worth something. She is refreshing to look at an to be with. He, like many middle aged men, has self doubts. Because she has a sense of purity and can talk to him honestly about her world and his, he should go back to his life a little more sustained.

Lost in Translation details the kind of wayward search for human connection many of us go through in life, sometimes young, sometimes old, or following a traumatic event. It's the time in our lives when we feel the most lost, and truthfully, many of us don't want answers as to how to better our situation, but just want somebody to go along for the ride. We'd like to find someone to empathize with, embrace on a frequent basis, and know that somebody cares about us and our wayward ways and to reciprocate such feelings.

With this, Sofia Coppola writes and directs a film about that search for human connection and what it can exactly amount to. We are immediately introduced to Bob Harris (Bill Murray), an older American movie star who travels to Tokyo to film an advertisement for Suntory whiskey. Bob has found himself in the mix of a souring marriage and no real close friends, and it is in Tokyo where Bob sinks deeper and deeper into a midlife crisis. Meanwhile, we also meet Charlotte (Scarlett Johansson), a college graduate whose husband John (Giovanni Ribisi) is starting to lose interest in her in favor of all the models he works with.

Later on, Bob and Charlotte finally meet and immediately recognize each others unfortunate situation. They spend sporadic amounts of time together, often not talking and simply speaking in fragmented sentences and lying next to one another. They aren't very concerned with long conversation; they simply let their lethargy in their current situations carry their relationship along.

Over time, sexual tension between the two builds, though both of them are still caught in relationships, regardless of how mediocre they are. In addition, neither of them are quite sure how to conjure intimacy with one another. The two are much more in tune with being static beings and platonic. This is one of the few dramas I can recall that allows the presence of the characters to take over rather than their actions. Coppola sits back and watches with a keen eye and a sense of mannered restraint how Bob and Charlotte get close over the course of their visit in Tokyo.

Coppola's interest lies in Bob and Charlotte's situation moreso than the progression of their relationship, which is a difficult thing to pull off in film without working with more of an impressionistic style. The brushstrokes Coppola paints this story in are more or less minimal, but they craft just enough out of a little so that we can recognize these characters, their feelings, and their current state. They have transcended living life into simply existing within it, rarely getting excited and scarcely finding any kind of mutual contentment.

Again, in these situations, all you need is another soul who feels the same way you do, and in this case, that's bottled up angst and complete and total uncertainty. The title represents a lot of things and the cultural gap Bob and Charlotte experience is only a small part of it; these two souls are lost within the translation of life. Life has keep going and two formerly active people who could keep up with the bustle have let it all pass by, letting sadness dominate their lives and fogginess encapsulate the remnants of the future. The translation lost is within the characters here, and that's sometimes scarier than not speaking the same language of the community.

The only issue that arises from this is that we get the impression that Coppola either doesn't understand Japanese culture or simply doesn't want to, what with the abundance of cheap stereotypes and archetypal Japanese characters played for nothing but laughs here. Coppola opens by ostensibly getting most out of her way, thankfully, however, through the use of subtle humor, but sporadically doubles back to throw in another jab or two, which can briefly throw the film out of whack. It reminds me of when a really artsy film wants to try and pander and connect with the audience when it thinks it has lot them, and, as shown here amidst others, the action has the opposite effect.

However, Murray and Johansson craft wonderful, low-key chemistry here. Murray's subtle sarcasm and overall cynicism are downplayed but in force here, as he employs facial expressions that speak louder than words could. He fully shows how he can be a hilarious comic presence and a fascinating, real dramatic presence and merge the two in one project, proving nothing but great range and ability on his behalf. Johansson, who was only eighteen during the time this was being filmed, bears mannerisms and a self-assured aura that would be more expected from someone ten years older than her. Such lofty material is presented and she handles the task of not being too theatrical or obvious very well, and it's a performance that requires both actors to place a reliance on their body language and facial expressions. This was by no means an easy role for Johansson, yet she breaks out with it and becomes a force all her own.

Lost in Translation details a difficult time in a person's life and, in the process, doesn't sugarcoat it. The lack of human connection and the feelings of hopelessness, regardless of short-term or long-term, are debilitating to a person, and this film goes on to show to reiterate my idea about life: if we didn't have at least one of these things - a passion, a good relationship with family, or close friends and people to connect with - we would jump out a window.

Starring: Bill Murray, Scarlett Johansson, Giovanna Ribisi, and Anna Faris. Directed by: Sofia Coppola.

I went through an array of emotions and expressions watching this film; most of them centred around how bizarre I thought it was, yet it was like a good book I simply couldn't put down even if the film itself lived up to its title at times.

This is by far the best work Bill Murray has done, and it will be a pleasant surprise for many to see him find a new (to me, anyway) side to his ability as an actor. He captures the role with such precision that you don't realise this is the same guy who, dare I even mention it in the same breath, provided the voice of Garfield last year. You see a few traces of his characteristic smugness every once in a while, but by and large the Bill Murray you see is a lot more serious... and seriously damned good.

It's such a simple story... unhappy married man meets unhappy married woman in a place neither of them are familiar with, and suddenly realise that they're all the other has got at least for the time being. In an age where Hollywood is trying (mostly unsuccessfully) to scare and shock us with something new at every turn, Sofia Coppola takes what should be the premise for a typical chick flick and turns it into something that anyone who has ever experienced an emotion of any description can watch and appreciate.

A brilliant film in any language.

It's been a long time since a movie has made me hurt the way this one did. Perhaps "hurt" isn't the right word. "Ache" is more like it. I could so completely identify with both characters.

Bob is a middle-aged actor caught in a life which has lost its zest and purpose, doing what he "ought" to be doing (making money doing whiskey commercials) instead of doing what he WANTS to do (plays). And then a young, beautiful, intelligent woman enters his orbit. On that level alone, with its mute longing and sexual tension, I can identify with him.

And then there is Charlotte, a student of philosophy seeking herself, her soul lost and adrift. She doesn't know who she is, doesn't know what she wants. Her life is a quest for authenticity of self. And I identify with her because so much of my life I have been seeking the same thing.

This movie isn't for everyone. They will call it boring, lifeless, limp. There are people, I realize, who have never experienced that kind of longing, who had never sought meaning in their lives, and searched for their own lost souls. They live for the here and now, without giving a thought to the spiritual aspects of life.

A friend said introverts will love this movie, extraverts will hate it. I think that is a fair surface assessment. This movie is all about the inner lives of two people whose souls connect for a brief time in an alien city. It is a love affair not of bodies, but of minds and spirits.

Some this movie will make angry. Some this movie will make weep.