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Lost in Translation (2003)
Focus Films, 1 hr. 42 mins.
Starring:
Bill Murray, Scarlett Johansson, Giovanni Ribisi, Anna Faris
Directed by:
Sofia Coppola |
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The apple doesn’t fall far from the
tree as far as writer-director Sofia Coppola is concerned. It’s only
natural to prematurely compare and contrast this up and coming filmmaker
with that of her legendary father in the person of noted moviemaker
Francis Ford Coppola (read “The Godfather” films). Granted it isn’t fair
to thrust big expectations upon the junior Coppola and expect her to match
the cinematic scope that her father had achieved after such a long storied
career in moviemaking. But with her impressive second feature film Lost in
Translation, Ms. Coppola may escape the shadow of her celebrated old man
and be recognized for the merits that she deserves based on her
self-developed talented cinematic eye.
Lost in Translation is an astonishing dramedy gem that is soulful in
spirit as it conveys so many moods of insightful forethought. Coppola,
whose first film was the solemn and riveting 1999 drama The Virgin
Suicides, dips into her intimate glossy project with a solid purpose that
captures the beauty of her compellingly warm and intuitive narrative.
Imaginative and inherently heartfelt, Translation offers a refreshing and
stimulating look at newly formed relationships and how that it can rescue
one from the stagnation of previous unfulfilling emotional bonds. Coppola
not only understands the underlying poignancy of her exposition she’s
skillful enough to have this touching film penetrate the indelible psyche
of its alert audience.
Translation leading man Bill Murray is absolutely haunting and moving in
the role of Bob Harris, a washed up American movie star stationed in Japan
while undergoing a serious midlife crisis that threatens his fragile
personal and professional existence. It would be a crying shame if the
Academy voters didn’t recognize what an outstanding performance Murray
delivers here as his burnt out turn embodies the passion and pain of a man
lost in his own self-importance. Hopefully, Murray won’t be cheated out of
a potential Oscar nomination for his wonderful work displayed in
Translation (there are some who are still dumbfounded that Murray didn’t
get acknowledged for his bit in the well-received coming-of-age school
drama Rushmore a few years back).
Anyway, Murray’s Bob Harris is based in Tokyo where he’s preoccupied with
shooting commercials for liquor-related products. Bob is basically going
through the tedious motions and is stuck in a constant rut. He’s bogged
down in a loveless marriage. Hence, his stint as America’s big screen
treat is a distant memory being replaced by a present reality—the demotion
for being reduced to a has-been selling out to corporate advertising
interests in the Far East. Bob is tired and bored and has no conceivable
way of breaking away from his imprisoned state of the doldrums.
Soon, we’re introduced to another numb American doing some time in Japan
in the form of Charlotte (Scarlett Johansson), a young married gal who is
as equally restless and lost as the unchallenged Bob. While lonely and
frustrated Charlotte sits in her claustrophobic hotel room moping around,
her thrill-seeking photographer husband (Giovanni Ribisi) is off and about
on business while taking in the lovely sights around the scenic
countryside.
Eventually, Bob and Charlotte finally end up meeting at the Japanese hotel
and are relieved to see one another as fellow “trapped” Yankees apparently
isolated in an unfamiliar foreign land.
Gradually, the newly formed duo is energized. They begin to engage in a
sturdy connection and provide the spark for each other’s noted company. As
the twosome collaborate on the good times they were missing when they were
apart as alienated individuals, there’s a sense of substance to their
relationship that may mean more than they care to ignore. With Bob’s
better half a thousand miles away and Charlotte’s hubby off on assignment
with his “real” preferred companion (his camera) in tow, the setting is
paved for these two unlikely souls to foster an intimate appreciation that
they have been starving for such a long time.
Everything in Lost in Translation seems so poetically spry in its bouncy
delivery. Director Coppola is able to effectively blend the vibrant colors
of Japan’s exotic landscape and utilize it as the third wheel in the
enhancement of Murray’s Bob and Johansson’s Charlotte special bonding.
Aided with a juicy and high-spirited soundtrack, the film resonates with a
rhythmic flow that is so soothing to the atmospheric mood by cunningly
manipulating the lingering turmoil and quiet tension that plagues our
pairing protagonists. Coppola is steady at the helm and committed to
fortifying her material with a smart and savvy observation pertaining to
the vaguely platonic union that exists between Murray’s mature and haggard
entertainer versus Johansson’s youthful and attention-starved waif.
There’s a playful and hypnotic surge that Coppola has embedded in her ode
to misplaced and reclaimed romance. There’s no doubt that Lost in
Translation has a surreal quality that is both raw and appetizing. This
cultural transplant ditty is deep-seeded in its enriching comedic vibes.
More so, it’s a cozy meditation in the methodical way we search for
meaning within ourselves and the ability in which we can reach out for
comfort and look to gravitate toward that unique someone that can wallow
in our indifference or grow with our need to abandon our dissatisfaction.
The cast in Translation live up to their tortured on-screen portrayals.
Murray continues to trudge on as one of the contemporary movie’s most
underrated and overlooked actors. It’s hard to believe that some segment
of the movie-going audience may take for granted Murray’s effortless
antics for crafting some decent and resourceful big screen
characterizations (such as in the aforementioned Rushmore) because they’re
blinded by his retro Saturday Night Live association from over two decades
ago. Plus, his stock as a comic actor in memorable cut up classics such as
Caddyshack, Stripes, Ghostbusters, What About Bob, etc. may prejudice his
chances to be looked upon as a well-rounded and gifted performer. If
fellow SNL alum Dan Akroyd can be rewarded with an Oscar nod (for Driving
Miss Daisy) then why not Murray based on his consistent input?
As Murray’s partner-in-crime prancing along in the transfixing Asian
background, Johansson is truly amazing and puts in a head-turning
performance as the diminutive and disillusioned wife Charlotte whose
loneliness is diminished by a ruffled kindred spirit old enough to be her
disciplinarian father. Johansson hasn’t showed this much promise since her
treasured somber participation in Terry Zwigoff’s 2001’s dark and
delightful Ghost World. Also, Ribisi’s neglectful and clueless spouse off
on a fun-filled tangent with his work-related obligations and Anna Faris
as a screwy American movie star certainly contribute to the confusion and
confinement of the peppered proceedings.
Lost in Translation is not without its minor flaws and some may feel that
the film may be perceived as incomplete since it is not quick to address a
few ambiguous points regarding Bob and Charlotte’s attachment. But with
that note aside, Coppola offers the audience more to chew on that is
considered exquisite and thought-provoking. And what’s that you might ask?
Well, it’s the gripping offering of showcasing the concept of
discontentment and having it eradicated before our very weary
consciousness. Now if that isn’t very absorbing then I don’t know what
else is in this convincing case. |
