"A lonely, aging movie star named Bob Harris (Bill Murray) and a conflicted newlywed, Charlotte (Scarlett Johansson), meet in Tokyo. 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."
Reviewing older releases that have been requested (or in some cases demanded) has been an eye-opening process, to say the least. Never sure ahead of time whether the movie is being recommended for good or bad reasons, I went into Lost in Translation with no knowledge of the film beyond it having Scarlett Johannson and Bill Murray in it.
It didn't take long to realise that Lost in Translation is quite a purposeful slow burn. Colour me surprised to learn that this Bill Murray film was a drama and an endearing drama at that!
Lost in Translation works hard to subvert your expectations. There are so many scenes that seem shot in a way that is designed to objectify women (as many Hollywood films have a tendency to do), and yet it lingers for such a long length of time that the viewers end up pulling their own eyes away out of awkwardness; made aware of their own actions. Such is the case with the opening shot, and it is at that point that you realise the importance of who is directing it; Sofia Coppola. No male director here.
Even the two protagonists aren't thrust at each other immediately; time is spent developing each character and building up their backstory, independent of one another before they are slowly introduced to each other. Such a low-energy first act, it sets the tone but doesn't rush into specifying the direction of the film, leaving the audience to contemplate themselves the purpose of the film.
With many blue tones and most scenes between these insomniacs occurring at night, there is a reserved, melancholic vibe that is accentuated by minimal use of dialogue, and plenty of silence (content silence, not awkwardness). Another interesting aspect is the complete lack of score which keeps the film grounded in reality, using only diegetic sounds.
There is an innate beauty to Lost in Translation, which brings an intimacy and emotional connection between these two characters, without the need for a sexual connection. Both characters being married, but overwhelmed and burnt out in their relationships, the film could have easily have gone the usual route of discovering new impassioned love, and yet Coppola steers clear of that trope instead giving us an innocent story of two people, simply seeking a connection in an alien environment. Content with someone that actively listens to them, and enjoys their company regardless of social status.
The chemistry between Murray and Johannson's characters is surprisingly genuine, despite their age difference, and while you constantly want them to take that one step further, each time their bond grows stronger, and it serves as a reminder that there is so much more than the physical aspect of a relationship.
What the film lacks action, it makes up for with subtle comedic moments, often coming from Bill Murray and his interactions with the Japanese culture, and a language he has barely scraped the surface of. The environment of Tokyo nearly becoming an opposing character in itself; a brightly lit and forever bustling environment devoid of meaningful interaction, juxtaposed with the melancholic duo that seek a quiet companionship and are content with low-key proceedings.
Ever-so-relatable, Lost in Translation is a lesson in patience and priorities. Great cinematography and a precisely developed onscreen chemistry combine to create an open-ended climax in the final act that is captivating, and yet still consistent with the tone. I was unsure what to expect in the first half, but by the end, you are hooked.