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One might imagine the set of Sofia Coppola’s spare masterpiece as a solemn place…she and cinematographer Lance Acord speaking gently to each other…stars Scarlett Johansson and Bill Murray flirting quietly in the wings…crew members whispering breathlessly that this might be the day father Francis comes to visit…

In fact, if you are Aaron Sorkin, that’s precisely how you’d imagine it.

The reality, I believe, is much better: a slim crew camped out in a high rise Tokyo hotel for a few weeks making a movie. Their aim? To capture the tiniest, most fleeting…the most indelible moments of an accidental friendship between two lost souls.

LOST IN TRANSLATION is often mistaken as a fish-out-of-water, romantic comedy. It is not. It is better. It is a patient meditation on how people cope in this new, small world we share. Indeed, it is a film about taking care of each other…about being with each other.

Johansson and Murray have never been better than this. And neither has Coppola. The film sweeps you up from first frame to last. It befriends you. It stays with you.

It is a rainy Saturday movie for people who like to wander, but don’t like to feel lost.

Embracing a friendly ecosystem of technology and innovation interwoven with rich, cultural traditions of the past, Japan and its people are steeped in majesty. It is a cheerful country of idealistic perspective and determination among natives and foreigners alike. Though this illustrious island is a marvel to behold—both culturally and philosophically—it is without question one of the most introspective environments to find oneself in. As a case in point, Sofia Coppola’s tour de force film Lost in Translation recalls a very specific egoism in examining the relationship of two equally lost souls.

Bob (Billy Murray), a husband, father and American television/film personality arrives in Tokyo with a business commitment to endorse the Japanese Suntory whiskey brand. He finds it hard to adjust to the oddity of Japanese hospitality and his motivation as an endorser quickly spirals into a banal and unfortunate obligation. He spends his evenings at the hotel bar and, luckily for him, the whiskey works wonders. Bob inadvertently meets Charlotte (Scarlett Johansson), a young and unassuming Yale graduate. She is accompanying her photographer husband (Giovanni Ribisi) on an business trip. As with Bob, Charlotte cant help but feel lost in translation. A sense of abandonment and dissolution confine her to her hotel room. Initially, her husband’s indifference to her well being is painful to watch. His attitude only heightens an already profound struggle for Charlotte. The film establishes this feeling of desertion very well in its the first few sequences.

So, Bob and Charlotte meet as two, mutual identities in a foreign land and a complex dichotomy is sparked in this encounter; one that stems from a deep-rooted passion for. The story here takes a turn for the better as both Charlotte and Bob begin their journey towards a brief yet deeply existential enlightenment. Bob may not be the altruistic and accountable male figure that exists in the fairy tales but his temperament is no less honorable. Though under the gaze of a secure and grounded reality his sense of humor rings hopeful for the audience and, especially, for Charlotte. They laugh together and spend much of their time in full disclosure. For Bob, Charlotte is seen as a refreshingly carefree companion. She is his remedy for a disembodying existence in a world so far away from any true engagement. Their fellowship symbolizes a spiritual closeness in which a mutual regard for stability blossoms into a loving rapport.

When the time comes for Bob to leave the country and return to his family, this symbolic closeness has almost matured into a full-fledged reality. The risk is great, for to leave now is to begin an entirely unfamiliar and futureless journey and to vacate all possibility of a destined life in Japan. Yet some moments, however fantastic and enlightening, are meant to be brief. When the two say their goodbyes that sense of detachment arises again but this time the pain is more intimate.

No such struggle exists without a poignant and tender response. Bob, one his way to the airport in a taxi, sees Charlotte walking amidst a crowd. He tells the driver to stop, abandons his inevitable future and heads for the girl of his not-so-distant past. In a crowded street two lost souls rekindle their flame in a single embrace that is both restrained and profound. Words cannot describe the mysticality of this moment and, though we will never know what Bob whispered to Charlotte during those few passionate seconds, this loving encounter is all we really need to understand its significance. Bob ends this steadfast farewell with a soft kiss. They part ways and during the last few moments in view of one another they are together and in love.

This movie is a visual castration, and the cinematography just as anemic as Scarlett Johansson’s acting. I found myself slipping in and out of consciousness due to the underwhelming elements of this film— Murray and Johansson have no passion between them, even if it is supposed to be subdued, it as a whole just came out as blase. I just don’t understand how this movie could blow so hard with all the natural advantages she had— Tokyo is one of the greatest cities a filmmaker could dream of shooting. The scene in which Sofia tries to show the chaos and energy of the city, with the boys and their video games and taxi-cab filled streets does not invoke any sentiment and lacks an authentic feel. Not once during this movie did I think, “that’s beautiful” or even scrape the surface of a “pretty” scene or image. Everything is so rehearsed and mechanical, a half-assed rehearsal with the director’s artistic vision MIA. If Sofia Coppola had any taste about her and didn’t just inherit her title of filmmaker from her father, this could have something truly sensational, but such is not the case, and we are left with a shittily constructed film that too many people are passing off as “good” . And it pissed me off that La Dolce Vita was on the television— as if to say the couple in this movie was a less glamorous version of Mastroianni and Ekberg— please, can we not add insult to injury.

Such an amazing movie, Sofia Coppola delivers a truly unique and unforgettable romance. Bill Murray gives a great performance in this and really broke from his normal routine. Scarlett Johansson was also perfect, I couldn’t imagine anyone else bringing that character to life the way she did. It manages to be a comedy and drama all in one without feeling like a certain genre. The visual style is very unique and shows a landscape in a different way than normally presented. Packed with a great soundtrack and pop culture references, it becomes something more than just an independent romantic comedy. It’s more about culture and how people relate to each other.

Definitely not for everyone. After watching it a bunch of times I believe that more so than with many other films, you have to be able to relate to the main characters to a relatively high degree. Almost nothing happens in LiT, it’s true. But if you’re a boring person who’s bored, there’s a fair chance you’ll be able to immerse yourself in 100 minutes of asylum by finding your link here with Bob and Charlotte. Everyone wants a chance to be found; here’s one for the stragglers.

Sofia Coppola’s sophomore effort as a film maker is a deceptively simple study in unrequited attraction. Very much a mood piece that exploits brilliant performances from leads Murray and Johansson, Lost in Translation has grown into one of my favourite ever pictures. It moves me with its visceral beauty and the beauty of its subject matter. The film itself transcends its initial culture clash comic riffs to evolve into something altogether more moving by the end. As a result, it’s a work of considerable power and pathos. The melancholic ending is scored by the sounds of Just Like Honey by the Jesus and Mary Chain (gets me every time.) Coppola doesn’t frame a wistful glance out of place and the film omits an ethereal rawness that gets under the skin. The allure of this movie is overwhelming I cannot urge you enough to see it for yourself.

Sofia Coppola’s second feature after her suburban tragicomedy, ‘The Virgin Suicides’, became one of the best films of 2003, but I did not really watch it with much attention until now. Yes, this film is very good. It creeps behind initial impressions and delivers immensely after the whole affair is over. The film, like the Suntory whiskey Bob Harris (Bill Murray) grips while posing Mooreisms before a Japanese director, is a relaxing ride, but it has a strong after-kick. It didn’t always seem like it would be a good movie, as the elements were perhaps a bit too unwieldy. Despite the skeletal screenplay, the load weighed upon newcomer Scarlett Johansson, and the difficulty of parsing to audiences the minutiae of contemporary Tokyo while retaining the center of the drama on the two Americans, Coppola has done something remarkable.

The film is full of wit and charm, but it is not cute. One scene in particular with Anna Farris is chuckle-worthy, and we love her for being the ‘dumb-blonde’ anchor that keeps the movie humourous and (pun intended) airy. The romance between the two leads is something that happens abruptly, but it develops in a believable manner and, well, ends as well as you might hope. More on the last scene: it is definitely pretty, but it is not cheap. There is something about the exchange between Bob Harris’ muted words to his lover and confidant that rings true, if one can make such a claim. There are no gut-wrenching embraces, only the kind of communication between two knowing souls in different life-situations, both recognizing in the other the simplest of needs: a friendship.

So, there is no unrequited love per se; love abounds in this film. The cinematography does the Japanese locations a great service: from rendering the warm neon of Tokyo, to the serene beauty of an imperial garden in Kyoto, and for all the hotel corridors in between, the film looks spectacular. Once again tapping the likes of Air and other frequent collaborators, Coppola weaves a carefully considered score, though the music in the film is almost incidental, quite unlike her other features where the songs are key aural cues. Together with a fine indigenous supporting cast, and the movie plays like the montage of one person’s very lonely, but very rewarding summer vacation into the heart of the unknown with all its frequent delights, disappointments and non-life-changing epiphanies along the way.

Lost in Translation, Sofia Coppola’s second feature as director is a beautifully shot, and affecting comedy drama, one in which she explores human nature and relationships in her own unique dreamy and wistful fashion: a cross between Wong Kar Wai’s ‘In the Mood for Love’ and David Lean’s ‘Brief Encounter’ The story and plot of the film (a middle aged actor and a young married woman meet in a luxury Tokyo hotel and strike up a friendship, created by their joint insomnia) is very slight with Coppola choosing instead to focus on creating a hypnotic and delicate mood and ambience, a wise choice which yields stunning results.

This is a very human film that reflects human relationships in a very honest and beautiful way and Coppola captures perfectly that strange under water feeling you experience when you are in a new, very different country from your own. The film is essentially a series of beautifully composed shots (a young woman sits hunched by a hotel window, silhouetted against the Tokyo skyline) tied together with minimal dialogue and is all the more powerful for reflecting upon the quieter moments in life and relationships . Bill Murray gives the most intelligent and natural performance of the year or any other and Scarlett Johansson is wonderfully understated and innocent as the waif-like Charlotte.

Sofia Coppola’s approach to Lost in Translation and filmmaking in general is very subtle and natural. She uses the instruments of cinema: cinematography and music, colour and dialogue with such a light and deft touch to allow the audience a way to get inside her character’s heads. For example, at the end of Lost in Translation in a sublime moment she “placed the majestic slow burn of The Jesus and Mary Chain’s ‘Just Like Honey’ to make the audience truly feel the dull ache of Bob and Charlotte’s world weary melancholy”

Beautifully crafted and utterly sublime.

Please give me a lighter to burn my sorry eyes out, this film is bad. its beyond bad, after watching the trailer wich advertised it as “one of the funniest films this year”, i thought okay lets give this a try, its got Bill Murray he was funny in the 80’s, it may be alright. But no, i sat through the film praying for it to end, i was so suprised that nothing actually happens in this film, and even more suprised that it was as funny as a loved ones funeral. it was terrible, just so terrible. i anticipated to be in fits of histerics; but i never laughed once. it was overly pretentious and mainly consisted of shots of Bill Murray staring rather sadly out of windows, there seemed to be not much else to it than that. I would really recommend staying away from it, even if it did win awards and loads of top critics said it was good. dont belive there lies dont fall into the same trap that so many naive film students do. if you do have the misfourtune of watching this poor excuse for a film dont recommend it to anyone (even if you do like it).

LOST IN TRANSLATION was a movie that seemed magical and fresh the first time I saw it, but on subsequent viewings the movie has not offered a richer experience like a lot of my favorite films do, instead it seems more vapid and dull. People love to muse on Bill Murray’s final words to Scarlett Johansson, his inaudible whisper being something of a point of fascination with fans of the movie. But at the end of the day, it means nothing. The movie does capture the feeling of being a stranger in a strange land in some nice little moments, and the way Tokyo is captured visually is stunning, but the naval-gazing that Sophia Coppola loves to engage in with her characters wears thin. The moments where Bill Murray’s somber, bored demeanor is juxtaposed with Japanese people being stereotypically Japanese (read: zany) aren’t very funny and it gets old like everything else here. A lot of people seemed to connect with this movie, and I thought I did at first, but now I just find it irritating, but it’s strong points are worth acknowledging.

Imposing Tokyo is a city of too much crowded streets and too much empty ones. Down town surrounded by everlasting lights and continuous movement on every sighting, everyone follows their own path. I suppose after a while living here, you take everything for granted. It may become tedious. Its overwhelming technology constituted and penetrates every skyscraper and advertisement. A night stroll through this marvelous city aside a love one can picture perfect how intimacy can be achieved by huge surroundings of people and endless movement. Why? Romantic love between a man and a woman is a constant of two, a third one means crowd. So, this two are immerse on each other enjoying this touring through Tokyo. The strolling goes on as the characters talk, laugh, and fool around each other. Simple mundane seduction, the unique of it is in the difference of each others persona. In their sorrow and meaningless existence they are aware of this mundane stroll. They fall in love, no longer mundane but unique. Now they are Bob and Charlotte, not that lone Wife and the depressive Actor, what ever his name is (Bob Harris isn’t it?). More strolling as the couple gaze at that Big Pink Dinosaur. Some jokes here and there, when at last they understand that they are alone with each other. That’s all the comfort one needs. Still surrounded by massive amounts of people strolling through the streets (got the picture?).
To cheer you up, to hold you save, still strolling through Tokyo and its overwhelming architecture, the couple feels the bond. What a great time to be with each other! Bond together. Time for a Whisky. Cheers!
Wake up, it’s late already! Got to work. Where is my Husband? That damn Translator sucks big time! Some fancy actress, I just can’t stand her stupid smile! At least I’m getting paid for this commercial. At least there is Tokyo right outside the window. Tonight’s plan will take us to one of those popular bars where you can be alone with your friends and have a good time. Karaoke! Now I know you better. I don’t want to be alone tonight, so stay with me please? We’ll share the sorrow. It’s about the dept of your gaze and the sharing of our silence. It pleases me to be with you. Bob and Charlotte. Yours truly!
Don’t feel sad, we’ll come together again. Now Charlotte strolls alone in Tokyo, and Bob impatiently awaits for her to come back to America. Then we’ll sketch a dinner or something and begin an affair. Remember the way we where back in Tokyo?
No stereotypes, no clichés, and by no means the standard romantic comedy formula is used in any to way to cheapens this carefully constructed atmosphere of lonesome existences and frailty of the soul. Reality is at every moment present to express a direct mood of despair. Sweet jokes and mundane speeches, just a man a woman coming together as in real life happens. That’s why it’s simple but sober script penetrates the viewer with gallantly and emotiveness. Never in this picture a glimpse of hypocrite manipulation is seen to force a tear in the spectator. Sophia Coppola’s pace and cinematic composure is perfect and flawless. The acting level is simply splendid. Highly in shape, Bill Murray is the perfect muse, natural, complex, as far as I am concern, this is no acting but a real life person caught in motion. Tender Scarlett Johansson pleases the eye with every gesture and word, sexy and lone, a breathtaking performance my dear. The photography is no post-card but a realistic color depict of the great Tokyo gathered with an exact camera movement. Music to assists the images and increase the great balance achieved in this less that 30 days shooting. A.K.A.: Lost in Translation.
And so, the excellent DVD transferring offers DTS sound, Dolby Digital 5.1, A conversation with Sophia and Bill, the Making Of, an extend version of that weird Japanese T.V Show, plus some more goodies.
The climax comes when Bob soft spokes some words to Charlotte, gaining an instant smile on her face. That’s one of the best depictions of hope ever caught in Cinema History. He comes back to the limousine with a big sense of fulfillment. She continues her stroll, alone yes, but with a huge gaze of happiness and satisfaction. Simply an unprecedented kind of beauty never shown before on the big screen. Then the end credits appear: Directed by the great Sophia Coppola, featuring the amazing performances of Bill Murray and Scarlett Johansson, etc, etc.
It’s about people we met briefly in our lives, but how we can talk about them forever, and never get tire of it.

A great film. Achieving a perfect mix of comedy and drama, but what really got me about it is the how well it transmits the feeling of being actually lost in this beautiful but sometimes chaotic city.

Great performances, lots of nuance and a surprisingly deep bond. Put it all together and spice it up with one unbelievably good soundtrack and you’ve got a winner.

This is one of the very few films to which I always come back to.

For all it’s respective flaws, it is one of the most charming, subtle, and visually stunning movies of my generation. Sure, it has a few choices of style of substance, like trendy soundtrack (however awesome some the songs are), but it still exercises patience in other aspects like the character’s wonderfully stumbling human relationships. It pokes at modern technologies effect on alienation in a very un-preachy way that’s quite refreshing. Is it the deepest movie ever? No. But that won’t stop you from clamming up when Bill and Charlotte’s time is together is over.

An incredibly beautiful and subtle movie about being stuck in a place and time in your life where it seems impossible to communicate with anyone about what is actually going on in the inside…I also Love the atmosphere and the Soundtrack, especially the Air song “Alone in Kyoto” Such a perfect choice for this movie… It is also so refreshing to see a couple that has so-much screen chemistry that is IMMENSELY different than the generic couples of Hollywood Cinema…