Trying to distill all of my enjoyable movie experiences into one film is a daunting task. Choosing between Casablanca, The Godfather, Manhattan, Pulp Fiction, Citizen Kane, and Taxi Driver seemed impossible. There was no way I could go wrong in choosing any of them. I doubt any film critic would scoff at any of the above choices. I then reconsidered the assignment: What film gave me the biggest emotional response out of all of the films I have ever seen? After careful deliberation it became obvious to me: the film that gives me the biggest emotional response is Sofia Coppola’s Lost in Translation.
Structurally, I was amazed at how such a moving film could be made with such a minimalistic plot. I have heard it described as a film about nothing. It’s true that the film borders on plotless, but the genius in the film is in the suggestions made by body language and laconic dialogue. The tension between Charlotte (Scarlett Johansson) and Bob Harris (Bill Murray) builds throughout the entirety of the film as the audience gains a view of both of their strained marriages. It is in each other, their joint sense of ennui, and being essentially lost in a city they do not understand that they are able to find a sense of camaraderie. It becomes apparent that their friendship becomes more than this. Coppola does this through subtle cues throughout the film rather than beat the audience over the head with some “if you’re a bird I’m a bird” drivel. Their unrequited love builds to a final scene when Bob is leaving Tokyo and he spots Charlotte walking through the crowd from a car. The cinematography of that moment is incredible. The camera starts at a waist high level where it is easy to see Charlotte with her long blonde hair among all of the dark haired people. The camera then pans out and she is lost among the crowd. The camera then goes back to the original position as Bob rushes down the street after her. As he gets closer Jesus and the Mary Chain’s song “Just Like Honey” starts playing, which adds to the climactic nature of the scene. Bob then says a simple “Hey you,” and Charlotte turns around. The tension builds into a final scene in which Bob whispers something into Charlotte’s ear that is inaudible to the audience. The tears well up in her eyes and he kisses her. Somehow in the silence of that moment there is more beauty than I’ve seen from any final scene in any movie (with the possible exception of Casablanca). That statement sums up the film well— in the silence of the movie there is more stated than many films even dare to speak. Not that the film relies on silence throughout its entirety. It’s just that the dialogue that is used is poignant and well written. Coppola just knows where to put the caesuras.
This is also one of the most well casted movies I’ve ever seen. Johansson plays the role of a beautiful, intelligent, and slightly pretentious young woman impeccably well. And Murray plays the aging, curmudgeon, second rate actor who is past his prime exceptionally well. Their on-screen chemistry works, partially because I think Coppola manages audience expectations. She also does this well with Anna Farris’ character Kelly, as Anna Farris is known for playing unbelievably ditsy blonde bimbos. Charlotte and Kelly are juxtaposed against each other. This becomes obvious when it seems that Charlotte’s husband is interested in Kelly, though it is only obvious through subtle indicators.
What is it about this film that moves me? It’s that two people, so alone in their current state of life and circumstances, can find someone that understands each other’s being lost in life. Though it is unclear whether their love for each other will be enacted upon, it is still clear that something has been found in their being lost in a strange city together. If two people so hopeless in their current state can find somebody to share the experience with, it’s inspiring during my bouts of ennui and hopelessness (which are somewhat frequent). Lost in Translation is one of my all time favorite movies because I can relate to the lives of the characters. It gives me hope, as this is generally the movie I watch when I’m feeling lost in life. This film always reminds me that no matter how cynical I become, life can still surprise me with its ineffable beauty. - Dylan Schrader
Clip - http://www.youtube.com/watch?v=1bd2RE0OjyE
Structurally, I was amazed at how such a moving film could be made with such a minimalistic plot. I have heard it described as a film about nothing. It’s true that the film borders on plotless, but the genius in the film is in the suggestions made by body language and laconic dialogue. The tension between Charlotte (Scarlett Johansson) and Bob Harris (Bill Murray) builds throughout the entirety of the film as the audience gains a view of both of their strained marriages. It is in each other, their joint sense of ennui, and being essentially lost in a city they do not understand that they are able to find a sense of camaraderie. It becomes apparent that their friendship becomes more than this. Coppola does this through subtle cues throughout the film rather than beat the audience over the head with some “if you’re a bird I’m a bird” drivel. Their unrequited love builds to a final scene when Bob is leaving Tokyo and he spots Charlotte walking through the crowd from a car. The cinematography of that moment is incredible. The camera starts at a waist high level where it is easy to see Charlotte with her long blonde hair among all of the dark haired people. The camera then pans out and she is lost among the crowd. The camera then goes back to the original position as Bob rushes down the street after her. As he gets closer Jesus and the Mary Chain’s song “Just Like Honey” starts playing, which adds to the climactic nature of the scene. Bob then says a simple “Hey you,” and Charlotte turns around. The tension builds into a final scene in which Bob whispers something into Charlotte’s ear that is inaudible to the audience. The tears well up in her eyes and he kisses her. Somehow in the silence of that moment there is more beauty than I’ve seen from any final scene in any movie (with the possible exception of Casablanca). That statement sums up the film well— in the silence of the movie there is more stated than many films even dare to speak. Not that the film relies on silence throughout its entirety. It’s just that the dialogue that is used is poignant and well written. Coppola just knows where to put the caesuras.
This is also one of the most well casted movies I’ve ever seen. Johansson plays the role of a beautiful, intelligent, and slightly pretentious young woman impeccably well. And Murray plays the aging, curmudgeon, second rate actor who is past his prime exceptionally well. Their on-screen chemistry works, partially because I think Coppola manages audience expectations. She also does this well with Anna Farris’ character Kelly, as Anna Farris is known for playing unbelievably ditsy blonde bimbos. Charlotte and Kelly are juxtaposed against each other. This becomes obvious when it seems that Charlotte’s husband is interested in Kelly, though it is only obvious through subtle indicators.
What is it about this film that moves me? It’s that two people, so alone in their current state of life and circumstances, can find someone that understands each other’s being lost in life. Though it is unclear whether their love for each other will be enacted upon, it is still clear that something has been found in their being lost in a strange city together. If two people so hopeless in their current state can find somebody to share the experience with, it’s inspiring during my bouts of ennui and hopelessness (which are somewhat frequent). Lost in Translation is one of my all time favorite movies because I can relate to the lives of the characters. It gives me hope, as this is generally the movie I watch when I’m feeling lost in life. This film always reminds me that no matter how cynical I become, life can still surprise me with its ineffable beauty. - Dylan Schrader
Clip - http://www.youtube.com/watch?v=1bd2RE0OjyE