Lost in Translation is a romantic comedy-drama film written and directed by Sofia Coppola. Bob Harris, an aging American movie star, arrives in Tokyo to film an advertisement for Suntory whisky. Charlotte, a young college graduate, is left in her hotel room by her husband, John, a celebrity photographer on assignment in Tokyo.
Charlotte is unsure Lost in translation 2 her future with John, feeling detached from his lifestyle and Lost in translation 2 about their relationship. Bob's own year marriage is strained as he goes through a midlife crisis. Each day, Bob and Charlotte encounter each other in the hotel, and finally meet at the hotel bar one night when neither can sleep. Eventually, Charlotte invites Bob to meet with some local friends of hers. The two bond through a fun night in Tokyo, welcomed without prejudice by Charlotte's friends and experiencing Japanese nightlife and culture.
In the days that follow, Bob and Charlotte's platonic relationship develops as they spend more time together. One night, each unable to sleep, the two share an intimate conversation about Charlotte's personal troubles and Bob's married life.
On the penultimate night of his stay, Bob sleeps with the hotel bar's female jazz singer. The next morning Charlotte arrives at his room to invite him for lunch and overhears the woman in his room, leading to an argument over lunch.
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Later that night, during a fire alarm at the hotel, Bob and Charlotte reconcile and express how they will miss each other as Lost in translation 2 make a final visit to the hotel bar. The following morning, Bob is set to return to the United States. He tells Charlotte goodbye at the hotel lobby and sadly watches her walk back to the elevator.
In a taxi to the airport, Bob sees Charlotte on a crowded street and gets out and goes to her. He embraces the tearful Charlotte and whispers something in her ear. The two share a kiss, say goodbye and Bob departs. Over the course of the film, several things are "lost in translation". In several exchanges, the director gives lengthy, impassioned directives in Japanese.
These are invariably followed by brief, incomplete Lost in translation 2 from the interpreter. In addition to the meaning and detail lost in the translation of the director's words, the two central characters in the film—Bob and Charlotte—are also lost in other ways.
On a basic level, they are lost in the alien Japanese culture. But in addition, they are lost in their own lives and relationships, a feeling, amplified by their displaced location, that leads to their blossoming friendship and growing connection with Lost in translation 2 another. By her own admission, Coppola wanted to create a romantic movie about two characters that have a moment of connection. The story's timeline was intentionally shortened to emphasize this moment. Murray has described his biggest challenge in portraying Bob as managing the character's conflicted feelings.
On one hand, Murray said, Bob knows that it could be dangerous to become too close to Charlotte, but on the other, he is lonely and knows that having an affair would be easy.
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Murray worked to portray a balance between being affectionate and being "respectable". The academic Marco Abel lists Lost in Translation as one of many films that belong to the category of "postromance" cinema, which he says offers a negative perspective of love, sex, romance, and dating.
According to Abel, the characters in such films reject the idealized notion of Lost in translation 2 monogamy. The author and filmmaker Anita Schillhorn van Veen interprets the film as a criticism of modernityin which Tokyo is a contemporary " floating world " of fleeting pleasures that are too alienating and amoral to facilitate meaningful relationships.
The author and lecturer Maria San Filippo contends that Lost in translation 2 film's setting, Tokyo, is an audiovisual metaphor for Bob and Charlotte's world views. She explains that the calm ambience of the city's hotel represents Bob's desire to be secure and undisturbed, while the energetic atmosphere of the city streets represents Charlotte's willingness to engage with the world.
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Robert Hahn, an essayist writing for The Southern Reviewsuggested that the filmmakers deliberately used chiaroscurothe art of using strong contrasts between light and dark to support the story. He wrote that the film's dominant light tones symbolize feelings of humor and romance, and they are contrasted with dark tones that symbolize underlying feelings of despondency. He compared this to the technique of the painter John Singer Sargent. The film's opening shot, which features a close shot of Lost in translation 2 sitting in translucent pink underwear, has interested various commentators.
In particular, it has been compared to the portraitures of the painter John Kacere and the image of Brigitte Bardot in the opening scene of the film Contempt. Dwyer wrote that when the two shots are compared, they reveal the importance of language difference, as both films highlight the complexities involved with characters speaking multiple languages.
Coppola revealed Lost in translation 2 a interview that the shot is indeed based on the art of Kacere. He used the shot as an example of the film's obvious attractions, which are characteristic of mainstream filmand its subtle ones, which are typified by "indie" film. Coppola devised the idea of Lost in Translation Lost in translation 2 many visits to Tokyo in her twenties, basing much of the story on her experiences there.
Coppola spent six months writing the film, beginning with "short stories" and "impressions" that culminated in a page script. Coppola wrote the film with Murray in mind and said she would not have made it without him. Lance Acord, the film's director of photography, has written that the cinematographic style of Lost in Translation is largely based on "daily experiences, memories and impressions" of his time in Japan. Location scouting was carried out by Coppola, Acord, and Katz; and Coppola created 40 pages of photographs for the crew so that they would understand her visual intentions.
Acord sought to maximize available light during shooting and use artificial lights as little as possible. He described this approach as conservative compared to "the more conventional Hollywood system", for which some of the crew's Japanese electricians thought he was "out of his mind".
Most of the film was shot on an Aaton camera with 35 mm film stockusing Kodak Vision T stock for nightlight exteriors and Kodak Vision T stock in daylight. A smaller Moviecam Compact was used in confined locations. Coppola said that her father, Francis Ford Coppolatried to convince her to shoot on video, but she ultimately decided on film, describing its "fragmented, dislocated, melancholic, romantic feeling", in contrast with video, which is "more immediate, in the present".
Lost in Translation was shot six days per week Lost in translation 2 September and Octoberover the course of 27 days. Various locations were used during production; in particular, the bar featured prominently in the film is the New York Bar, which is situated on the 52nd floor of the Shinjuku Park Tower and part of the Park Hyatt in Shinjuku, Tokyo. Other locations include the Heian Jingu shrine in Kyoto and the steps of the San-mon gate at Nanzen-jias well as the club Air in the Daikanyama district of Tokyo.
All of the locations mentioned in the film are the names of actual places that existed in Tokyo at the time of filming. Murray described the first few weeks of the shoot Lost in translation 2 like "being held prisoner", since he was affected by jet lagand Johansson said the shoot made her "busy, vulnerable and tired". Coppola spoke of the challenges of directing the movie with a Japanese crew, since she had to rely on her assistant director to make translations.
For example, the dialogue in the scene with Harris and the still photographer was unrehearsed. To conclude this relationship, Coppola wanted a special ending even though she thought the concluding scene in the script was mundane.
| Trailer Scarlett Johansson in...
Coppola instructed Murray to perform the kiss in that scene without telling Johansson, to which she reacted without preparation. The whisper was also unscripted, but too quiet to be recorded. While Coppola initially considered having audible dialogue dubbed into the moment, she later decided that it was better to keep it "between the two of them.
After filming, Coppola and Flack spent approximately 10 weeks editing the film. Lost in translation 2 said much of the soundtrack consisted of songs that she "liked and had been listening to", and she worked with Reitzell to make Tokyo dream pop mixes.
Allmusic gave the soundtrack four out of five stars, saying "Coppola's impressionistic romance Lost in Translation features an equally impressionistic and romantic soundtrack that plays almost as big a role in the film as Bill Murray and Scarlett Johansson do. Agathi Glezakos, an academic writing a review of Lost in Translation shortly Lost in translation 2 its release, wrote that the music in the film's karaoke scene constitutes a common "language" that allows Bob and Charlotte to connect with some of the Japanese people amidst their alienation.
Both Coppola and Murray finally selected Roxy Music 's " More Than This " during the shoot itself because they liked the band and thought the lyrics fit the story.
Lost in Translation was screened at the Telluride Film Festival. Lost in Translation received critical acclaim, particularly for Coppola's direction and screenplay and Lost in translation 2 and Johansson's performances. The site's critical consensus states: Critic Roger Ebert gave Lost in Translation four out of four stars and named it the second best film of the year, describing it as "sweet and sad at the same time as it is sardonic and funny".
Johansson is not nearly as accomplished a performer as Mr. Coppola gets around this by using Charlotte's simplicity and curiosity as keys to her character. Trimmed to a newly muscular, rangy handsomeness and in complete rapport with his character's hard-earned acceptance of life's limitations, Murray turns in a great performance.
In his review for The New York ObserverAndrew Sarris called the film "that rarity of rarities, a grown-up Lost in translation 2 based on the deliberate repression of sexual gratification Coppola and her colleagues have replaced sexual facility with emotional longing, without being too coy or self-congratulatory in the process. In his review for The ObserverPhilip French wrote: Coppola keeps her film as hushed and intimate as that whisper.
Lost in Translation was released...
Lost in Translation is found gold. Funny how a wisp of a movie from a wisp of a girl can wipe you out. Hobermanin his review for the Village Voicewrote: But Lost in Translation is the more poignant reverie.
Coppola evokes the emotional Lost in translation 2 of a one-night stand far from home—but what she really gets is the magic of movies". And we don't want to. Why spoil a perfect film? In a international critics' poll by the BBCLost in Translation was voted the 22nd greatest film since The film received some negative reviews, many from Japanese critics. Japanese TV critic Osugi of Osugi and Piko fame said "The core story is cute and not bad; however, the depiction of Japanese people is terrible!
The viewer Lost in translation 2 sledgehammered into laughing at these small, yellow people and their funny ways. It is depicted approvingly, though ancient traditions have very little to do with the contemporary Japanese.
The good Japan, according to this director, is Buddhist monks chanting, ancient temples, flower arrangement ; meanwhile she portrays the contemporary Japanese as ridiculous people who have lost contact with their own culture. Hawaiian filmmaker and author E. Koohan Paik wrote that "The Japanese are presented not as people, but as clowns" and that " Lost in Translation relies wholly on the " otherness " of the Japanese to give meaning to its protagonists, shape to its plot, and color Lost in translation 2 its scenery.
| Trailer Scarlett Johansson in...
The inaccessibility of Japan functions as an extension of the alienation and loneliness Bob and Charlotte feel in their personal lives, thus laying the perfect conditions for romance to germinate: Take away the cartooniness of the Japanese and the humor falls flat, the main characters' intense yearning is neutralized and the plot evaporates.
In another Guardian article, journalist David Stubbs described Lost in Translation as "mopey, self-pitying drivel", and its characters as "spoiled, bored, rich, utterly unsympathetic Americans". Coppola knows firsthand that American tourists rarely get to know any Japanese well enough to discover their depth as sympathetic human beings. Literally, we recounted experiences that I think all of Lost in translation 2 had gone through," and that none of the scenes were "any slight to Japanese people.
United States; Japan. Language. English; Japanese. Budget, $4 million. Box office, $ million.
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Lost in Translation is a romantic comedy-drama film written and directed by Sofia. Sofia Coppola already had “The Virgin Suicides” under her belt when Focus Features opened “Lost In Translation” in limited release on.
Director Sofia Coppola finally opens up about what Bill Murray whispers to Scarlett Johansson at the end of Lost in Translation, 15 years after.
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