Lost in Translation
If I were to summarise my ‘ideal’ romantic comedy drama, it would go something like this: 1). engaging characters who are believable and easy to relate to; 2). a storyline that takes the genre away from crude slapstick and gratuitous sex scenes to keep the viewer’s interest; 3). a setting that conveys the feelings and situations of the said characters; and 4). a musical score that is also a break from the norm but at the same time works in harmony with what’s going on. These factors end up as especially important in romantic comedy drama films due to the character- and situation-driven nature of the material but for me at least don’t often deliver.

Imagine my surprise, then, when I experienced Lost in Translation, a whimsical and affecting portrayal of how two lonely souls meet in the city of Tokyo. it’s funny, emotional and touching; in short, it’s a romance film that achieves everything it sets out to do.

This is not a film for everyone, even those who are fans of rom-com in general. The truth is, not a great deal happens: two people, Bill Murray’s careworn actor and Scarlett Johansson’s bored photographer’s wife, meet in a Tokyo hotel. They talk about the respective sets of circumstances that have brought them there, meet again and talk about other aspects of their lives. That’s more or less it for the rest of the proceedings. The scenes of witty and sincere dialogue are punctuated by extended shots of the Tokyo cityscape as the characters go about their daily business but much of Lost in Translation’s magic comes from these very unremarkable-sounding ideas.

Going back to the first of my earlier criteria, the performances from Murray and Johansson are superb: bearing in mind that the chemistry between their characters is devoid of steamy passion and noticeable outward shows of emotion, the friendship between them on-screen unfolds at a natural and unhurried pace. Similarly, what little there is of a storyline feels all the more real because it is so unremarkable: most viewers will be able to identify with various aspects of the lives they lead. Murray is trying to escape his family life, but his wife phones him at the most inconvenient moments; Charlotte has travelled all the way to Tokyo with her husband but he is too wrapped up in his work to pay attention to her.

Reflecting their loneliness and insecurity, the city of Tokyo is full of life yet this densely populated area offers the ultimate in isolation and anonymity. The characters of Bob and Charlotte find loneliness in the most crowded of places but can find comfort in each other’s company; they are not romantic leads in the conventional sense. Rather, they are two ordinary people who share a close friendship based on common ground in an unfamiliar place.

Additionally, the soundtrack plays an important part since the scenes in which Bob and Charlotte are on their own are so introspective and light on dialogue. As with Sofia Coppola’s first effort, The Virgin Suicides, the French band Air make a contribution but this film’s score was mostly recorded by My Bloody Valentine’s Kevin Shields. His approach to writing music involves wistful, half-heard lyrics and layering atmospheric guitar melodies that hardly sound like conventional guitar rock at all: MBV’s trademark ’shoegazing’ sound offers a colourful soundscape to match the film’s visual cityscape without feeling obtrusive. Shields gives a contemporary sound to the score but at the same time adds much to the film’s individuality.
In Summary
Quietly profound, deeply moving and prevented from falling into self-pity by a dry sense of wit, Lost in Translation is a highly unusual but extremely worthwhile viewing experience. The setting is fantastic, the leads pull off the performances of their careers and the whole package fits together perfectly. While not an attention-grabbing piece, this is a fine example of both Sofia Coppola’s ability to escape her father’s shadow and a special and heartfelt piece of cinema that highlights how ordinary people can connect at a deep emotional level. Highly recommended.
Posted on August 10th, 2007 @ 10:36 pm
Isn’t it just.
I was astounded by this film when I went to see it at the cinema. I don’t remember what I was expecting, but I had no idea Kevin Shields was involved in the soundtrack until the opening bars of (I think) City Girl. I immediately fell in love with Sofia Coppola. Finishing up with JAMC’s Just Like Honey was just pure genius too.
The rest of the movie is equally great. It has to be in my top ten - maybe top five.
I might go watch it again now…
Posted on August 12th, 2007 @ 12:13 pm
@lastarial: I really liked the style of the movie so will probably track down the Virgin Suicides too. I didn’t expect guitar rock to work in this sort of film, but then MBV’s music isn’t really your typical ‘guitar rock’! I’ve heard the shoegaze genre being referred to by US critics as ‘dreampop’, which is exactly what this sort of thing sounds like. If only Shields would come out of hiding and record some more stuff…