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Lost in Translation is a 2003 romantic comedy-drama film written and directed by Sofia Coppola. It stars Bill Murray as aging actor Bob Harris, who befriends college graduate Charlotte (Scarlett Johansson) in a Tokyo hotel.

Lost in Translation
Theatrical release poster
Directed bySofia Coppola
Produced by
  • Sofia Coppola
  • Ross Katz
Written bySofia Coppola
Starring
  • Bill Murray
  • Scarlett Johansson
  • Giovanni Ribisi
  • Anna Faris
  • Fumihiro Hayashi
Music byKevin Shields
CinematographyLance Acord
Edited bySarah Flack
Production
company
  • American Zoetrope
  • Elemental Films
Distributed by
  • Focus Features (United States)
  • Tohokushinsha Film (Japan)
Release date
  • August 29, 2003 (2003-08-29) (Telluride Film Festival)
  • September 12, 2003 (2003-09-12) (United States)
  • April 17, 2004 (2004-04-17) (Japan)
Running time
101 minutes
Country
  • United States
  • Japan
Language
  • English
  • Japanese
Budget$4 million
Box office$119.7 million

Lost in Translation was nominated for four Academy Awards, including Best Picture, Best Actor for Bill Murray, and Best Director for Coppola; Coppola won for Best Original Screenplay. Murray and Johansson each won a BAFTA award for Best Actor in a Leading Role and Best Actress in a Leading Role respectively. The film grossed $119 million on a budget of $4 million.

Screenplay

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 of her future with John, feeling detached from his lifestyle and disillusioned about their relationship. Bob's own 25-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. Later that night, during a fire alarm at the hotel, Bob and Charlotte reconcile and express how they will miss each other as they 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.

  • Bill Murray as Bob Harris
  • Scarlett Johansson as Charlotte
  • Giovanni Ribisi as John
  • Anna Faris as Kelly
  • Fumihiro Hayashi as Charlie Brown
  • Akiko Takeshita as Ms. Kawasaki
  • François Du Bois as the Pianist
  • Takashi Fujii as TV host
  • Hiromix as herself

Over the course of the film, several things are "lost in translation". Bob (Murray), a Japanese director (Yutaka Tadokoro), and an interpreter (Takeshita) are on a set, filming a commercial for Suntory whisky (specifically, 17-year-old Hibiki). In several exchanges, the director gives lengthy, impassioned directives in Japanese. These are invariably followed by brief, incomplete translations from the interpreter.

Director (in Japanese, to the interpreter): "The translation is very important, O.K.? The translation."
Interpreter (in Japanese, to the director): "Yes, of course. I understand."
Director (in Japanese, to Bob): "Mr. Bob. You are sitting quietly in your study. And then there is a bottle of Suntory whisky on top of the table. You understand, right? With wholehearted feeling, slowly, look at the camera, tenderly, and as if you are meeting old friends, say the words. As if you are Bogie in Casablanca, saying, 'Here's looking at you, kid,'—Suntory time!"
Interpreter (In English, to Bob): "He wants you to turn, look in camera. O.K.?"
Bob: "...Is that all he said?"

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 one 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. Additionally, Coppola has said that since "there's not much happening in the story besides ", the filmmakers tried to keep an ongoing tension.

As an actor, and as a writer/director, the question is: is it going to be very noble here? this guy going to say, "I just can't call you. We can't share room service anymore?" Is it going to be like that sort of thing, or is it going to be a little more real where they actually get really close to it?

—Bill Murray

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. 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 lifelong monogamy.

The author and filmmaker Anita Schillhorn van Veen interprets the film as a criticism of modernity, in which Tokyo is a contemporary "floating world" of fleeting pleasures that are too alienating and amoral to facilitate meaningful relationships. Tessa Dwyer, writing for Linguistica Antverpiensia, New Series – Themes in Translation Studies, called Lost in Translation a polyglot film that challenges the film industry's "more usual tendency to ignore or deny issues of language difference" by highlighting Bob and Charlotte's difficult contact with the Japanese language.

Aesthetics

The author and lecturer Maria San Filippo contends that the 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. Coppola and Acord, the film's cinematographer, agreed that Lost in Translation needed to rely heavily on visual expression to support the characters' romance.

Robert Hahn, an essayist writing for The Southern Review, suggested that the filmmakers deliberately used chiaroscuro, the 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 Charlotte 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 1963 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. Filippo wrote that while the image in Contempt is used to remark on sexual objectification, Coppola "doesn't seem to be making a statement at all beyond a sort of endorsement of beauty for beauty's sake".

Coppola revealed in a 2013 interview that the shot is indeed based on the art of Kacere. Geoff King, a professor of film at Brunel University (who published a book on the film, under the same name in a series titled "American indies", in 2010), contends that the shot is marked by an "obvious" appeal in its potential eroticism, and a "subtle" appeal in its artistic qualities. He used the shot as an example of the film's obvious attractions, which are characteristic of mainstream film, and its subtle ones, which are typified by "indie" film.

Development

I remember having these weeks there that were sort of enchanting and weird ... Tokyo is so disorienting, and there's a loneliness and isolation. Everything is so crazy, and the jet lag is torture. I liked the idea of juxtaposing a midlife crisis with that time in your early 20s when you're, like, What should I do with my life?

—Sofia Coppola, 2003

Coppola devised the idea of Lost in Translation after many visits to Tokyo in her twenties, basing much of the story on her experiences there. Coppola was attracted to the neon lights of Tokyo and has described the Park Hyatt Tokyo, where most of the film's interior sequences take place, as one of her "favorite places in the world". Particularly, she was attracted to its quietness, design, and "combination of different cultures", which include a New York bar and French restaurant.

Coppola spent six months writing the film, beginning with "short stories" and "impressions" that culminated in a 70-page script. She wanted to create a story that was "a little more funny and romantic" than her previous feature, The Virgin Suicides, and she spent little time planning or rewriting it. Coppola has called the film a "valentine" to Tokyo, in which she has displayed the city in the way that it is meaningful to her.

Coppola wrote the film with Murray in mind and said she would not have made it without him. She said that she had always wanted to work with Murray and that she was attracted to his "sweet, lovable side". She pursued him for five months to a year, relentlessly sending telephone messages and letters.Lost In Translation Film

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