Lost In Translation review

Bob: For relaxing times, make it Suntory time.

Director: Sofia Coppola
(2003)

Lost in translation is a heartwarming tale of 2 lonely people trying to find who themselves in an alien country. Bob Harris (Bill Murray) is an aging movie star who has travelled to Tokyo to shoot a whiskey commercial. From this commercial we can see that he’s an unhappy man, he smiles broadly at the camera, but his eyes are expressionless and empty. Its clear from this scene alone he would rather be ‘doing a play somewhere’. Early on during his stay in Tokyo he bumps into Charlotte (Scarlett Johansson) a lonely newlywed who feels neglected due to the tight schedule of her workaholic husband John (Giovanni Ribisi). Bob and Charlotte meet by chance at the hotel bar in which they're staying, and instantly hit it off. They go to lunch, parties and bars together, they have to, there's no one else to alleviate there loneliness. Bobs wife remains at home and Charlottes husband has left Tokyo on a works trip. And through these encounters, a strong bond of friendship is born.

These encounters excellently highlight Lost In Translations greatest strength, its screenplay. Written (and directed) by Sofia Coppola, the dialogue zips, the emotion rings true and the characters have depth. Murray, usually the comedian, does wonders in a serious role here as Bob, and if the writing creates the shell of the character, Murray certainly gives it its soul. Johansson is fantastic in her role as Charlotte, imbuing her with a child like, wide eyed innocence. She’s searching for herself, something any audience member would be able to deduct from the shots of her sitting on a windowsill, looking onto the Tokyo skyline. This scene alone is a phenomenal example of the pedigree of Lost in Translations cinematography. Lance Acord captures some stunning images of Japan, from the neon glare of Tokyo’s high-rise districts at night to the elegant beauty of various temples and shrines. None of the film is shot in soundstages and it’s a testament to Acord’s skills that Lost in Translation looks so good. Its undoubtedly one of the greatest strengths of the film.

Where lost in translation falters most is its lack of story. Coppola seems more concerned in spending time with her (admittedly well written) characters rather than spurring events forwards. It’s these divergent moments (strip clubs, karaoke, call girls) that don’t work, and things grind to a frustrating halt. It’s fair to say that both story and plot is thin on the ground, and it’s left to Murray and Johansson to carry the film in this absence, a task they perform magnificently. Regardless of their hard work, they cannot prop up the films conclusion, which finishes in an ambiguous, unsatisfying way.

At its best, lost in translation manages to garner an emotional response without becoming weepy, sentimental or melodramatic; an excellent trait that can be attributed to Coppola’s strong script. Films that manage to achieve this are few and far between; here it’s achieved perfectly.  As a film showing the affects of loneliness and the power of friendship, Coppola is onto a winner. If it wasn’t for the lack of plot, Lost in Translation would be a fine piece of cinema. Instead, it’s merely a good one.

7