Lost In Translation
Lost In Translation Inhaltsverzeichnis
Bob Harris ist ein Filmstar im mittleren Alter und gerade in Tokio, um einen Werbespot für eine japanische Whiskeymarke zu drehen. Dabei steckt er bis zum Hals in der Midlife-Crisis. In einem Hotel trifft er auf die junge Amerikanerin Charlotte. Lost in Translation (wörtl. „Verloren in Übersetzung“, Alternativtitel Lost in Translation – Zwischen den Welten) ist der zweite Spielfilm der Regisseurin Sofia. lmdle.eu: Finden Sie Lost in Translation in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von 29€. Lost in Translation. ()1 Std. 37 Min Mitten in Tokio entwickeln zwei ziellose Amerikaner eine außergewöhnliche Freundschaft. Bei ihren Streifzügen. Mit der erfrischend intelligenten Komödie LOST IN TRANSLATION präsentiert die junge Regisseurin Sofia Coppola, nach ihrem beeindruckenden Regiedebüt. Many translated example sentences containing "lost in translation" – German-English dictionary and search engine for German translations. Dieser Frage sehen sich die beiden Hauptakteure in Sofia Coppolas zweitem Film „Lost in Translation“ ausgesetzt. Da ist zum einen Charlotte (Scarlett.
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Von Vogue. Coppola beginnt ihren Film mit einer Szene, die von dem amerikanischen Künstler John Doctor Who Confidential Stream beeinflusst wurde, der bekannt dafür ist, Frauengestalten auf provokante Art und Weise zu malen. Lance Acord. Sofia Coppola, Ross Katz. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Seine Darstellung Film Elternschule alles; er Anime Drama einfach so traurig. The Rum Diary.Charlotte is feeling similarly disoriented as she questions her recent marriage and is unsure about her future.
They both grapple with additional feelings of jet lag and culture shock in Tokyo and often pass the time by lounging around the hotel.
Charlotte is repelled by a vacuous Hollywood actress named Kelly, who is at the Park Hyatt Tokyo promoting an action film and gushes over photography sessions she has previously done with John.
Bob and Charlotte frequently happen upon each other in the hotel and eventually acquaint themselves in the hotel bar.
After several encounters, when John is on assignment outside Tokyo, Charlotte invites Bob into the city to meet some local friends.
The two bond through a fun night in Tokyo, where they experience the city nightlife together. In the days that follow, Bob and Charlotte spend more time together and their friendship strengthens.
One night, while each are unable to sleep, the two share an intimate conversation about Charlotte's personal uncertainties and their married lives.
On the penultimate night of his stay, Bob spends the night with a lounge singer from the hotel bar. Charlotte hears the woman singing in Bob's room the next morning, leading to tension between Bob and Charlotte during lunch together later that day.
The pair encounter each other again in the evening, when Bob reveals that he will be leaving Tokyo the following day. Bob and Charlotte reconcile and express how they will miss each other, making a final visit to the hotel bar.
The next morning, when Bob is leaving the hotel, he and Charlotte share sincere but unsatisfactory goodbyes. As Bob takes a taxi ride to the airport, he sees Charlotte on a crowded street, stops the car, and walks to her.
He then embraces Charlotte and whispers something in her ear. The two share a kiss, say goodbye, and Bob departs.
The film's writer-director, Sofia Coppola , has described Lost in Translation as a story about "things being disconnected and looking for moments of connection", [7] a perspective that has been shared by critics and scholars.
In a cultural sense, Bob and Charlotte are disoriented by feelings of jet lag and culture shock as a result of foreign travel to Japan. Bob is bewildered by his interactions with a Japanese commercial director whom he cannot understand, realizing that the meaning of his communication is "lost in translation" by an interpreter.
Such feelings provoke a sense of estrangement from their environment, but they also exacerbate deeper experiences of alienation and disconnection in their lives.
Such experiences are heightened by the characters' contact with the city environment of Tokyo; Bob feels alienated by seeing his likeness used in an advertisement while he is driven from the airport to his hotel, and the colorful cityscape is rendered as a frenetic environment by which he is overwhelmed.
In the little time they have together, each realize they are not alone in seeking a sense of something deeper in their lives.
Then you have to go back to your real lives, but it makes an impression on you. It's what makes it so great and enjoyable. Geoff King, a scholar who wrote a book about the film, comments that the experiences of the central characters are one factor that lends Lost in Translation to varied interpretations by academics.
She argues that the film provides a complex portrait of Charlotte's female subjectivity and an optimistic rendering of the character's pursuit for individual expression.
Lost in Translation has been broadly examined in terms of its narrative structure, with commentators noting that it contains few plot events as compared with films in the Hollywood mainstream.
Narrative events are mostly focused on the development of Bob and Charlotte's relationship, [22] with few "external" obstacles that impact the central characters.
They're formed by the emotions that gather at the end of one episode and pour into the next". The film's opening shot has been another point of discussion among critics and scholars.
The second shot, which features Charlotte's backside as she lies on a bed wearing transparent pink panties, is based on the photorealist paintings of John Kacere [32] and has often been compared to the initial appearance of Brigitte Bardot in the film Contempt.
Lost in Translation has also been noted for defying the conventions of mainstream romantic films. Haslem writes that the classic romantic comedy assures the audience that the couple has a future, but Coppola defies expectations by refusing to unite the central characters.
Writing about the concluding sequence in which the characters make their final goodbyes, Haslem argues, "Conventionally in mainstream cinema, the kiss But in this new wave of contemporary anti-romance romance, the kiss signifies ambiguity.
Wong contends that the film's lack of "heart-melting connections and melodramatic re unions between characters" represents a postmodern portrait of love, writing that Lost in Translation is "about non-love, the predominance of affairs and the complexities of intimacy.
Characters vacillate between falling in love and out of love. They are neither committed to someone nor emotionally unattached.
To me, it's pretty un-sexual between them—innocent and romantic, and a friendship. After dropping out of college in her early twenties, [37] Coppola often traveled to Tokyo, trying out a variety of jobs in fashion and photography.
Coppola began writing Lost in Translation after returning home from this press tour. Coppola did not initially write the screenplay in traditional script form, citing the difficulty of mapping out a full plot.
Coppola envisioned Murray playing the role of Bob from the beginning, wanting to show off "his more sensitive side" [36] and feeling amused by the image of him dressed in a kimono.
Salinger 's character Franny in Franny and Zooey , finding appeal in "the idea of a preppy girl having a breakdown". As she developed the relationship between Bob and Charlotte, Coppola was compelled by the juxtaposition of the characters having similar internal crises at different stages of their lives.
Coppola maintained that she would not have made Lost in Translation without Murray. In the end, I felt I couldn't let her down.
Despite Murray's agreement, Coppola had to take him at his word, as he did not sign a formal contract. Feeling a sense of personal investment in the project, Coppola wanted to maintain final cut privilege and feared that a distribution deal with a North American studio would threaten her influence.
When he finally arrived, days before filming, she described feelings of significant relief. Principal photography began on September 29, , [50] and lasted 27 days.
While key crew members were Americans that Coppola invited to Tokyo, most of the crew was hired locally. Coppola worked closely to visualize the film with her director of photography , Lance Acord.
She showed him and other key crew members a book of photographs she created that represented the visual style she wanted to convey in the film.
Video is more present tense". With high-speed film stocks, Acord chose to utilize available light as often as possible, [53] only supplementing with artificial lights when necessary.
On public streets and subways, the production did not secure filming permits [32] and relied on city bystanders as extras ; [36] Coppola described the shooting as "documentary-style" [17] and was worried at times about getting stopped by police, so she kept a minimal crew.
The film's soundtrack was released by Emperor Norton Records on September 9, Manning Jr. During the screenwriting stage, Coppola spoke to Reitzell about the "moody" and "melancholic" qualities she wanted the music to convey in the film, as well as what Reitzell understood to be the "strange, floating, jet-lagged weirdness" that would define the central characters.
In the end, just the physical movement of the film, that was a delicacy. And I suppose that's why I ended up doing stuff that was so delicate.
King argues that music often plays the most significant role in setting mood and tone in the film, writing that it is substantial "in evoking the dreamy, narcotised, semi-detached impressions of jet-lag" as well as broader feelings of alienation and disconnection, "making what is probably the largest single contribution to the widespread understanding of the film as a 'mood piece'.
Coppola did not sell distribution rights for the United States and Canada until she and Flack finished editing the film. The prior contract proved to be significant for Focus, as it received privileged access to the film while competing buyers complained that they were restricted to the viewing of a three-minute trailer in the Focus offices at the American Film Market.
Once Focus was involved, it began promoting the film by employing a conventional " indie -style" marketing campaign. It entered wide release on October 3, [note 16] its fourth weekend, peaking at a rank of seven in the box office chart; [73] a week later, it expanded to an estimated theaters, the film's highest theater count over its run.
The DVD of Lost in Translation was released on February 3, , [76] and includes deleted scenes, a behind-the-scenes featurette, a conversation about the film featuring Murray and Coppola, and a music video for " City Girl ", [77] one of the original songs composed for the film by Kevin Shields.
Wanting to capitalize on the publicity surrounding Lost in Translation ' s presence at the Academy Awards, Focus Features made the unusual move of releasing the film on home media while it was still screening in theaters, immediately after its Oscar nominations were announced.
Lost in Translation received widespread critical acclaim, particularly for Murray's performance and for Coppola's direction and screenplay.
Critics widely praised Murray's performance as Bob, commending his handling of a more serious role that was combined with the comic persona for which he was already broadly known.
Writing for Slate , David Edelstein argued that it was "the Bill Murray performance we've been waiting for", adding that "his two halves have never come together as they do here, in a way that connects that hilarious detachment with the deep and abiding sense of isolation that must have spawned it".
Murray's movie" and remarking that the actor "supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all".
Coppola received a similar level of acclaim for her screenplay and direction. Kenneth Turan of the Los Angeles Times commented that Lost in Translation was "tart and sweet, unmistakably funny and exceptionally well observed—[which] marks Coppola as a mature talent with a distinctive sensibility and the means to express it".
Praise was also offered for Johansson's performance as Charlotte; Rooney commented that she "gives a smartly restrained performance as an observant, questioning woman with a rich interior life", [89] and Turan added that Johansson "makes what could have been an overly familiar characterization come completely alive".
Paste ranked it number seven on its list of "The 50 Best Movies of the s", [92] Entertainment Weekly ranked it number nine on its list of the decade's top ten, [93] and the film was ranked number 22 on a list of the BBC's Greatest Films of the 21st Century , based on a poll of critics.
While not a topic of most reviews, Lost in Translation received some charges of Orientalist racial stereotyping in its depiction of Japan.
Koohan Paik argued that the film's comedy "is rooted entirely in the 'otherness' of the Japanese people", and that the story fails to offer balanced characterizations of the Japanese, adding that "it is The viewer is sledgehammered into laughing at these small, yellow people and their funny ways".
The film scholar Homay King argues that while the film ultimately does little to counter Orientalist stereotypes, it fails to establish the perspective from which Japanese representations are made, writing that "the film [does not] sufficiently clarify that its real subject is not Tokyo itself, but Western perceptions of Tokyo.
When Japan appears superficial, inappropriately erotic, or unintelligible, we are never completely sure whether this vision belongs to Coppola, to her characters, or simply to a Hollywood cinematic imaginary".
I just love Tokyo and I'm not mean-spirited". Lost in Translation received awards and nominations in a variety of categories, particularly for Coppola's direction and screenwriting, as well as the performances of Murray and Johansson.
Lost in Translation also received awards from various foreign award ceremonies, film festivals, and critics' organizations. From Wikipedia, the free encyclopedia.
Theatrical release poster. Ross Katz Sofia Coppola. American Zoetrope Elemental Films. Release date. Running time. United States [3] Japan [3]. He was trapped.
When you go to a foreign country, truly foreign, there is a major shock of consciousness that comes on you when you see that, "Oh God, it's just me here.
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See the full list. Title: Lost in Translation Watch the video. Middle-aged American movie star Bob Harris is in Tokyo to film a personal endorsement Suntory whiskey ad solely for the Japanese market.
He has an unsatisfying home life where his wife Lydia follows him wherever he goes - in the form of messages and faxes - for him to deal with the minutiae of their everyday lives, while she stays at home to look after their kids.
Staying at the same upscale hotel is fellow American, twenty-something recent Yale Philosophy graduate Charlotte, her husband John, an entertainment still photographer, who is on assignment in Japan.
As such, she is largely left to her own devices in the city, especially when his job takes him out of Tokyo. Both Bob and Charlotte are feeling lost by their current situations, which are not helped by the cultural barriers they feel in Tokyo, those cultural barriers extending far beyond just not Written by Huggo.
It's very interesting to see all of the ratings that Lost In Translation received in different countries. And really, the only explanation for this is a brief scene at a strip joint that shows some nudity.
I really look down on that R rating because Lost In Translation is a good-hearted film that should be enjoyed by all ages.
Notice how during the Oscar season two films played the "only one special effect: the effect on the audience" card; one being this film and the other being Mystic River.
Both are great films, both are rated R in the U. So what can I say about Lost In Translation that hasn't been said a million times already?
It's all true. It's subtle, down-to-earth, and allows the audience to observe and relate to the characters, Bob and Charlotte.
Both of them have a life crisis to deal with, and I guess if you're thousands and thousands of miles away from your problems it makes it easier to take an objective look at them, even if they do follow you.
Bob and Charlotte confide in each other and develop a relationship. That's what it's all about, and every scene is precious. It's a real and true to life kind of film.
You've changed my life in such a profound way and you'll always be in my heart. The feeling is there, the characters know it, the audience knows it, so it has to be left at that.
So, yeah, I love this movie. It's clearly the highlight of Bill Murray's career and marks the perfect first real stand-out in Scarlett Johanson's.
It's so rare to see a movie that only has an interest in its characters and only two of them, at that! This is a great example of non-Hollywood Hollywood films: the well-known actors and producers going to the roots of independent film-making.
In an age where half the movies out there are packed with CGI, this is refreshing to see. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show.
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So beginnt sie, an dem Sinn dieser Reise zu zweifeln, ihre Ehe in Frage zu stellen und sich der Ziellosigkeit ihres eigenen Lebens bewusst zu werden. Deine E-Mail-Adresse. Deutscher Titel. Lost in Translation Was tun, wenn man sich in einer fremden Stadt befindet, wenn man die Sprache nicht versteht und wenn einem die Sitten und Gebräuche des Landes vollkommen fremd sind? Angaben ohne ausreichenden Beleg könnten demnächst entfernt werden. Charlotte hat erst kürzlich ihr Philosophiestudium absolviert. The First Avenger: Civil War. Scarlett Wm 2019 Spiele Heute in "Lost in Translation". Oktober Girls' Night Out. The Avengers. Coppola as a mature talent Sword Art Online Yui a distinctive sensibility and the means to express it". Have you determined to honor God through His festivals? Theatrical release poster. Focus Features. Shop Now. Written by Huggo.Lost In Translation Navigation menu Video
Lost in Translation (2003) - Official Trailer Archived from the original on April 9, Coppola envisioned Murray playing the role of Bob Harris from the beginning and tried to recruit him for One Einsfestival to a year, relentlessly sending him telephone messages and letters. Buy Now. Hebrew, is the only language that is both phonetic each letter has its own sound and Die Jungfrauenquelle Stream each Better Call Saul Season 3 is a picture with meaning. Archived from the original on February 18, Shelbie Bruce, Geoff Rate And Review Submit review Want to see. Worst Superhero Movies. Written by Huggo. On the Power Rangers Wild Force Unterwegs nach Cold Mountain. Angaben ohne ausreichenden Beleg könnten demnächst entfernt werden. Kevin Shields. Er läuft zu ihr hin, umarmt sie, flüstert ihr etwas ins Ohr und gibt ihr einen Abschiedskuss. Zum Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket?
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How did you buy your ticket? View All Videos View All Photos Movie Info. Bob is there to film a Japanese whiskey commercial; Charlotte is accompanying her celebrity-photographer husband.
Strangers in a foreign land, the two find escape, distraction and understanding amidst the bright Tokyo lights after a chance meeting in the quiet lull of the hotel bar.
They form a bond that is as unlikely as it is heartfelt and meaningful. Sofia Coppola. Sofia Coppola , Ross Katz.
Jun 15, American Zoetrope, Elemental Films. Bill Murray Bob Harris. Scarlett Johansson Charlotte. Giovanni Ribisi John.
Anna Faris Kelly. Fumihiro Hayashi Charlie. Catherine Lambert Jazz Singer. Gregory Pekar American Businessman 1. Richard Allen American Businessman 2.
Sofia Coppola Director. Sofia Coppola Writer. Sofia Coppola Producer. Ross Katz Producer. Francis Ford Coppola Executive Producer.
Fred Roos Executive Producer. Lance Acord Director of Photography. Anne Ross Production Designer.
Barrett Production Designer. Nancy Steiner Costume Designer. January 11, Full Review…. October 5, Full Review…. November 1, Full Review….
June 24, Full Review…. March 7, Rating: A-. July 1, Full Review…. March 16, Full Review…. November 15, Full Review….
February 12, Full Review…. View All Critic Reviews Sep 22, Oh, Bill Murray, I understand your pain, as I'd imagine it would be mighty easy to get lost in someone trying to interact with you when Scarlett Johansson's in room.
Hm, let's see, he got a big comeback, scored a considerable sum of money, an Oscar nomination and a Golden Globe win, and got a vacation to Tokyo with one of the more beautiful women on the planet, so I'm kind of lost as to what Murray has lost with this deal.
Maybe it was his soul or something, which would explain why he's been looking really, really old ever since this film Hollywood doesn't age like this, Bill , and why he had to work with Sofia Coppola to be in this film.
Oh well, it was still an awesome film No, Coppola has had a decent directorial career since I suppose, but I think she lost something in translation when we gave her an opening to do whatever she wanted to after this film.
Oh well, at least we still have this film to keep us going, and yet, quite frankly, even in , I wouldn't have given Coppola the OK to do whatever, because she makes more than a few decisions with this film that are kind of questionable.
It's something of a fad to intentionally underdevelop the focuses of a character study when they're ordinary folks, and while an aging actor and the unusually hot wife of a photographer are certainly more interesting than the usual bums films of this type meditate on, some ambiguities is nice, but not to this degree, as immediate development is borderline nonexistent, and gradual exposition is mighty lacking, which is a problem, largely because these are unique characters who are focused on pretty thoroughly to have only so much flesh-out, and partly because this film wastes too much time on dragging.
At just barely over minutes, this is a relatively brief affair, but, like I said, expository depth is pretty lacking, so in order to break even, this film spends long, long stretches of time presenting, not excess material, but excess filler, which drags on and on until repetitious ensues, then devolves into an aimlessness that challenges your attention, and whose blandness goes exacerbated by atmospheric limpness.
This is one of your livelier Sofia Coppola films I suppose, and yet, the director isn't exactly known for keeping consistent with liveliness, so on top of being underdeveloped and overdrawn, this film further challenges engagement value with a rather cold atmosphere, anchored by dry quietness that typically blands things up and often goes so far as to dull things down.
A testament to Coppola's competence as a filmmaker is this film's taking so many heavy blows and ultimately standing as rewarding, regardless of its shortcomings, but make no mistake, there are plenty of shortcomings in development and pacing, and they drag things out and down, challenging your investment, which should be kind of loose to begin with, considering natural shortcomings.
This is certainly a meaty little drama, as it takes on plenty of storytelling issues and still stands as quite compelling at the end of the day, but the story that is so problematically told is kind of thin, at least in a sense of consequence, being not too much more than a study on a slice of life, only with a little less development and a little more limpness.
The film doesn't go a whole lot of places, and that's a crying shame, because this film could have perhaps gone far, considering that it rewards in spite of storytelling shortcomings' emphasis on natural shortcomings, yet as things stand, natural shortcomings remain prominent, and go stressed enough through characterization and pacing problems for the final product to run the risk of being, if you will, "lost in underwhelmingness".
Of course, when it's all said and done, while reward value isn't too firmly secured, it surprisingly still stands, compelling you through and through, and even catching your eyes, maybe even your ears, along the way.
As quiet as this film is, its soundtrack has become pretty popular, and really, I can't say that I'm blind as to why, because even though the pretty contemporary, relatively obscure songs that are found here and there throughout this film are hit-or-miss, and never hit too hard by their own musical right, some are decent, or at least fitting, livening up the film a bit, though not as much as an original score by Kevin Shields, whose melodic and rather soulful plays with subtle electronica is not only unique, but breathes yet more life into this very modern, very genuine character drama.
This is a film driven by a lot of quietness, yet its musical ironically defines its heart, while proving to be attractive more often than not, as surely as Lance Acord's cinematography proves to be consistently attractive, with soft, yet striking color and occasionally rather dreamlike lighting that is always good-looking, but particularly stunning when it accentuates Scarlett Johansson I don't know if the film is necessarily a stylistic marvel, but the aesthetic value of the film is relatively outstanding, perhaps even immersive, drawing you into the heart of a drama that, in order to compensate for shortcomings, is going to need worthwhile substance.
Like I said, there's something kind of thin about the meat of this character drama, and there is certainly plenty of thinness in this story's underdeveloped and overdrawn execution, but this is still a very genuine, fairly intriguing story concept, with worthy thematic depth and wit that wouldn't be sold as surely as it ultimately is without Sofia Coppola's efforts, at least as the writer of a script that offers sharp dialogue and humor, as well as quite a bit of juice within what characterization there is, further soaked up by a directorial meditativeness that may get to be too limp for its own good, but generally proves to be effective in drawing the subtle depths of this character study.
The strengths in storytelling are perhaps more subtle than the flaws, but those subtle touches go a long way in producing a tasteful, if flawed character study that charms, moves and endears thoroughly, yet still runs the risk of collapse into underwhelmingness, from which it is ultimately pried by the onscreen talents.
Sure, material is limited for this colorful cast, but most everyone delivers, though not as much as the leads, who really do about as much as anyone or anything in saving the character drama as compelling, with the charismatic Bill Murray being effective as a beloved talent who begins to question the credibility of his career, while the startlingly beautiful Scarlett Johansson, nearing the end of her 17th year Now I feel awkwa-nah, I can't even lie, she was already hot , remarkably convinces as a soft-spoken, but hearty woman who begins to question the path she has taken thus far in adulthood.
Of course, it's the chemistry between Murray and Johansson that really drives this film, because as if the charisma between the leads isn't endearing enough, the convincingness of their relationship sells much of the core of this study on two people just trying to get by, and that convincingness is ultimately enough to nudge this film over into thorough compellingness, challenged by storytelling and natural shortcomings, but ultimately firmly secured by rewarding inspiration.
When it's all said, translated and done, underwhelmingness stands as a serious risk, due to serious limitations of expository depth, long stretches of aimless filler, - made all the more glaring by near-dulling atmospheric dryness - and natural limitations in dramatic weight, but through a lively soundtrack, lovely visuals and an endearing story concept, - brought to life by a clever script and thoughtful directorial performance, and truly sold by electric charisma and chemistry between Bill Murray and Scarlett Johansson - "Lost in Translation" stands as a thoroughly charming and generally quite compelling character study.
Cameron J Super Reviewer. Jun 29, Like all of Sofia Coppola's films, Lost in Translation is beautiful, intimate, and mesmerizing.
Visually stunning--with a brilliant use of music--and exceptionally written and acted, the film is a reflection on life, freedom, and the lessons we learn from one another and from finding our place in the world.
Matthew Samuel M Super Reviewer. Jan 09, I'm very mixed on this film, I love the lay back style. I mean you could've walked out for fifteen minutes and still got what's going on.
Very relaxed and intimate with the viewer. It was also captivatingly beautiful, the city looked outstanding.
I swear these are the people that make fast food look good in commercials. Especially the hospital scene, which was very plain, I was staring in awe.
I'll be in the minority and say I found both the characters annoying. I was focused more on how things look around them than the story.
I usually like Murray and Johansson, but I feel they were giving irritating roles. Both passive aggressive, and too bitter at life.
The dialogue was pretty real, but the only thing that really stuck out to me is how everything looked. It's not a phenomenal movie, but it is a reasonable one.
Daniel D Super Reviewer. Sep 24, This is a very lovely film. It's definitely a sad movie in some ways, just the ways these characters sort of grow on you and seeing them stuck in very depressing situations and how they'd do anything to be anywhere but where they are at the moment, and their problems are exacerbated being in a very culturally different place from what they're used to.
It's definitely a movie that's driven by some very complex characters and their relationship with each other. The movie also offers some very funny moments, but they're definitely quiet and subtle.
It's not in your face like a lot of movies, so kudos to that. The writing is excellent, no surprise there. The movie has a lot of emotional depth but, like its humor, it's subtle and I appreciate that because this movie is so much more powerful because of it.
The cast is, of course, excellent. Bill Murray turns in, arguably, his best performance in this movie. There's just something about his presence and the way he carries himself that just adds a lot of power to the film.
And his chemistry with Scarlett is excellent. The thing is, their 'romance' is really very simple if you think about it, yet they get so much out of that with how they act with each other.
I also appreciate how the movie never really got into too much detail of what exactly happened between Bob and Charlotte and how that added a more ambiguous twist to the ending and what Bob actually whispered at the end of the film.
It's a movie that clicks on a lot of cylinders and I loved every single moment of it. So yes, this is an excellent movie with a tremendous performance from Bill Murray.
I loved this movie, so I highly recommend this. Jesse O Super Reviewer. The film's director of photography , Lance Acord , used available light as often as possible and many Japanese places of business and public areas were used as locations for shooting.
After 10 weeks of editing, Coppola sold distribution rights for the United States and Canada to Focus Features , and the company promoted the film by generating positive word of mouth before its theatrical release.
The film premiered on August 29, , at the Telluride Film Festival and was viewed as a critical and commercial success. Critics praised the performances of Murray and Johansson, as well as the writing and direction of Coppola; limited criticism was given to the film's depiction of Japan.
Bob Harris is a fading American movie star who arrives in Tokyo to appear in lucrative advertisements for Suntory whisky.
He is staying at the upscale Park Hyatt Tokyo and is suffering from strains in his year marriage and a midlife crisis. Charlotte, another American staying at the hotel, is a young Yale University graduate who is accompanying her husband John while he works as a celebrity photographer in Japan.
Charlotte is feeling similarly disoriented as she questions her recent marriage and is unsure about her future. They both grapple with additional feelings of jet lag and culture shock in Tokyo and often pass the time by lounging around the hotel.
Charlotte is repelled by a vacuous Hollywood actress named Kelly, who is at the Park Hyatt Tokyo promoting an action film and gushes over photography sessions she has previously done with John.
Bob and Charlotte frequently happen upon each other in the hotel and eventually acquaint themselves in the hotel bar. After several encounters, when John is on assignment outside Tokyo, Charlotte invites Bob into the city to meet some local friends.
The two bond through a fun night in Tokyo, where they experience the city nightlife together. In the days that follow, Bob and Charlotte spend more time together and their friendship strengthens.
One night, while each are unable to sleep, the two share an intimate conversation about Charlotte's personal uncertainties and their married lives.
On the penultimate night of his stay, Bob spends the night with a lounge singer from the hotel bar. Charlotte hears the woman singing in Bob's room the next morning, leading to tension between Bob and Charlotte during lunch together later that day.
The pair encounter each other again in the evening, when Bob reveals that he will be leaving Tokyo the following day. Bob and Charlotte reconcile and express how they will miss each other, making a final visit to the hotel bar.
The next morning, when Bob is leaving the hotel, he and Charlotte share sincere but unsatisfactory goodbyes.
As Bob takes a taxi ride to the airport, he sees Charlotte on a crowded street, stops the car, and walks to her.
He then embraces Charlotte and whispers something in her ear. The two share a kiss, say goodbye, and Bob departs.
The film's writer-director, Sofia Coppola , has described Lost in Translation as a story about "things being disconnected and looking for moments of connection", [7] a perspective that has been shared by critics and scholars.
In a cultural sense, Bob and Charlotte are disoriented by feelings of jet lag and culture shock as a result of foreign travel to Japan.
Bob is bewildered by his interactions with a Japanese commercial director whom he cannot understand, realizing that the meaning of his communication is "lost in translation" by an interpreter.
Such feelings provoke a sense of estrangement from their environment, but they also exacerbate deeper experiences of alienation and disconnection in their lives.
Such experiences are heightened by the characters' contact with the city environment of Tokyo; Bob feels alienated by seeing his likeness used in an advertisement while he is driven from the airport to his hotel, and the colorful cityscape is rendered as a frenetic environment by which he is overwhelmed.
In the little time they have together, each realize they are not alone in seeking a sense of something deeper in their lives.
Then you have to go back to your real lives, but it makes an impression on you. It's what makes it so great and enjoyable. Geoff King, a scholar who wrote a book about the film, comments that the experiences of the central characters are one factor that lends Lost in Translation to varied interpretations by academics.
She argues that the film provides a complex portrait of Charlotte's female subjectivity and an optimistic rendering of the character's pursuit for individual expression.
Lost in Translation has been broadly examined in terms of its narrative structure, with commentators noting that it contains few plot events as compared with films in the Hollywood mainstream.
Narrative events are mostly focused on the development of Bob and Charlotte's relationship, [22] with few "external" obstacles that impact the central characters.
They're formed by the emotions that gather at the end of one episode and pour into the next". The film's opening shot has been another point of discussion among critics and scholars.
The second shot, which features Charlotte's backside as she lies on a bed wearing transparent pink panties, is based on the photorealist paintings of John Kacere [32] and has often been compared to the initial appearance of Brigitte Bardot in the film Contempt.
Lost in Translation has also been noted for defying the conventions of mainstream romantic films.
Haslem writes that the classic romantic comedy assures the audience that the couple has a future, but Coppola defies expectations by refusing to unite the central characters.
Writing about the concluding sequence in which the characters make their final goodbyes, Haslem argues, "Conventionally in mainstream cinema, the kiss But in this new wave of contemporary anti-romance romance, the kiss signifies ambiguity.
Wong contends that the film's lack of "heart-melting connections and melodramatic re unions between characters" represents a postmodern portrait of love, writing that Lost in Translation is "about non-love, the predominance of affairs and the complexities of intimacy.
Characters vacillate between falling in love and out of love. They are neither committed to someone nor emotionally unattached.
To me, it's pretty un-sexual between them—innocent and romantic, and a friendship. After dropping out of college in her early twenties, [37] Coppola often traveled to Tokyo, trying out a variety of jobs in fashion and photography.
Coppola began writing Lost in Translation after returning home from this press tour. Coppola did not initially write the screenplay in traditional script form, citing the difficulty of mapping out a full plot.
Coppola envisioned Murray playing the role of Bob from the beginning, wanting to show off "his more sensitive side" [36] and feeling amused by the image of him dressed in a kimono.
Salinger 's character Franny in Franny and Zooey , finding appeal in "the idea of a preppy girl having a breakdown". As she developed the relationship between Bob and Charlotte, Coppola was compelled by the juxtaposition of the characters having similar internal crises at different stages of their lives.
Coppola maintained that she would not have made Lost in Translation without Murray. In the end, I felt I couldn't let her down.
Despite Murray's agreement, Coppola had to take him at his word, as he did not sign a formal contract. Feeling a sense of personal investment in the project, Coppola wanted to maintain final cut privilege and feared that a distribution deal with a North American studio would threaten her influence.
When he finally arrived, days before filming, she described feelings of significant relief. Principal photography began on September 29, , [50] and lasted 27 days.
While key crew members were Americans that Coppola invited to Tokyo, most of the crew was hired locally. Coppola worked closely to visualize the film with her director of photography , Lance Acord.
She showed him and other key crew members a book of photographs she created that represented the visual style she wanted to convey in the film.
Video is more present tense". With high-speed film stocks, Acord chose to utilize available light as often as possible, [53] only supplementing with artificial lights when necessary.
On public streets and subways, the production did not secure filming permits [32] and relied on city bystanders as extras ; [36] Coppola described the shooting as "documentary-style" [17] and was worried at times about getting stopped by police, so she kept a minimal crew.
The film's soundtrack was released by Emperor Norton Records on September 9, Manning Jr. During the screenwriting stage, Coppola spoke to Reitzell about the "moody" and "melancholic" qualities she wanted the music to convey in the film, as well as what Reitzell understood to be the "strange, floating, jet-lagged weirdness" that would define the central characters.
In the end, just the physical movement of the film, that was a delicacy. And I suppose that's why I ended up doing stuff that was so delicate.
King argues that music often plays the most significant role in setting mood and tone in the film, writing that it is substantial "in evoking the dreamy, narcotised, semi-detached impressions of jet-lag" as well as broader feelings of alienation and disconnection, "making what is probably the largest single contribution to the widespread understanding of the film as a 'mood piece'.
Coppola did not sell distribution rights for the United States and Canada until she and Flack finished editing the film.
The prior contract proved to be significant for Focus, as it received privileged access to the film while competing buyers complained that they were restricted to the viewing of a three-minute trailer in the Focus offices at the American Film Market.
Once Focus was involved, it began promoting the film by employing a conventional " indie -style" marketing campaign. It entered wide release on October 3, [note 16] its fourth weekend, peaking at a rank of seven in the box office chart; [73] a week later, it expanded to an estimated theaters, the film's highest theater count over its run.
The DVD of Lost in Translation was released on February 3, , [76] and includes deleted scenes, a behind-the-scenes featurette, a conversation about the film featuring Murray and Coppola, and a music video for " City Girl ", [77] one of the original songs composed for the film by Kevin Shields.
Wanting to capitalize on the publicity surrounding Lost in Translation ' s presence at the Academy Awards, Focus Features made the unusual move of releasing the film on home media while it was still screening in theaters, immediately after its Oscar nominations were announced.
Lost in Translation received widespread critical acclaim, particularly for Murray's performance and for Coppola's direction and screenplay.
Critics widely praised Murray's performance as Bob, commending his handling of a more serious role that was combined with the comic persona for which he was already broadly known.
Writing for Slate , David Edelstein argued that it was "the Bill Murray performance we've been waiting for", adding that "his two halves have never come together as they do here, in a way that connects that hilarious detachment with the deep and abiding sense of isolation that must have spawned it".
Murray's movie" and remarking that the actor "supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all".
Coppola received a similar level of acclaim for her screenplay and direction. Kenneth Turan of the Los Angeles Times commented that Lost in Translation was "tart and sweet, unmistakably funny and exceptionally well observed—[which] marks Coppola as a mature talent with a distinctive sensibility and the means to express it".
Praise was also offered for Johansson's performance as Charlotte; Rooney commented that she "gives a smartly restrained performance as an observant, questioning woman with a rich interior life", [89] and Turan added that Johansson "makes what could have been an overly familiar characterization come completely alive".
Paste ranked it number seven on its list of "The 50 Best Movies of the s", [92] Entertainment Weekly ranked it number nine on its list of the decade's top ten, [93] and the film was ranked number 22 on a list of the BBC's Greatest Films of the 21st Century , based on a poll of critics.
While not a topic of most reviews, Lost in Translation received some charges of Orientalist racial stereotyping in its depiction of Japan.
Koohan Paik argued that the film's comedy "is rooted entirely in the 'otherness' of the Japanese people", and that the story fails to offer balanced characterizations of the Japanese, adding that "it is The viewer is sledgehammered into laughing at these small, yellow people and their funny ways".
The film scholar Homay King argues that while the film ultimately does little to counter Orientalist stereotypes, it fails to establish the perspective from which Japanese representations are made, writing that "the film [does not] sufficiently clarify that its real subject is not Tokyo itself, but Western perceptions of Tokyo.
When Japan appears superficial, inappropriately erotic, or unintelligible, we are never completely sure whether this vision belongs to Coppola, to her characters, or simply to a Hollywood cinematic imaginary".
I just love Tokyo and I'm not mean-spirited". Lost in Translation received awards and nominations in a variety of categories, particularly for Coppola's direction and screenwriting, as well as the performances of Murray and Johansson.
Lost in Translation also received awards from various foreign award ceremonies, film festivals, and critics' organizations.
From Wikipedia, the free encyclopedia. Theatrical release poster. Ross Katz Sofia Coppola. American Zoetrope Elemental Films. Release date. Running time.
United States [3] Japan [3]. He was trapped. When you go to a foreign country, truly foreign, there is a major shock of consciousness that comes on you when you see that, "Oh God, it's just me here.
Bill Murray in left and Scarlett Johansson in right. Main article: Lost in Translation soundtrack. Main article: List of accolades received by Lost in Translation film.
While it has been labeled in terms such as " romantic comedy ", the film has been identified for integrating elements from multiple genres, including romance, comedy, and drama.
For one discussion of Lost in Translation ' s position between genres, see King , pp. Coppola saw her sing " Scarborough Fair " at the hotel a year before filming and later induced a manager to help identify her so Coppola could cast her.
Lambert performed the same song in the film. She remarked that "I like the fact that the American actors don't really know what's going on, just like the characters.
For examples, see San Filippo , p. She has described the locale as a "silent floating island" within the "chaotic" city environment of Tokyo, [36] and she has named it one of her "favorite places in the world".
When Coppola noticed that rain had made the area look hazy and atmospheric, she scrapped filming plans in a nearby arcade to shoot the sequence.
The Japan Times. April 14, Archived from the original on January 8, Retrieved August 8, British Board of Film Classification. Retrieved May 15, Note: Select the "Details" and "Feature" tabs.
American Film Institute. Archived from the original on July 5, Retrieved June 8, Archived from the original on October 12, Retrieved May 3, Archived from the original on October 24, Retrieved June 1, Archived from the original on June 11, The New York Times.
Archived from the original on March 4, August 15, The Hollywood Reporter. Senses of Cinema Archived from the original on September 11, II January—February Creative Screenwriting.
Archived from the original on October 13, Retrieved May 7, Archived from the original on August 13, The Christian Century.
Los Angeles Times. The Guardian. Archived from the original on July 11, The New York Times Magazine. Archived from the original on July 22,
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