Comprehensive information and links about Lost in Translation

Lost in Translation is a (2003) motion picture. It was the second writing and directorial effort of Sofia Coppola, after is a movie about culture shock between East and West, yet this reveals itself as a metaphor for more important themes of alienation and loneliness, and alternatively companionship. The film explores how these themes combine at certain stages in life, against the background of highly modern Japanese cityscapes.

Bob Harris (played by Bill Murray), is an American movie star on the downward slope of his career who has come to Tokyo, Japan, to film a Suntory whisky commercial (a reference to real-life Hollywood actors who have done similar deeds[1]). His marriage has cooled off decidedly—his wife contacts him frequently, not to actually talk to him, but to get his opinion on carpet samples or to remind him that he forgot his son's birthday. Harris finds himself in a city and culture beyond his comprehension for reasons that he has trouble remembering. It's only the solace of a big paycheck that has brought him to the foreign land but with the feeling that he's selling himself out for a quick buck instead of acting. Scarlett Johansson is Charlotte, a recent philosophy graduate of Yale University, the wife of a -type photographer (Giovanni Ribisi) on assignment in Tokyo. As both a hanger-on and a left-behind, she begins to wonder where she is and what she is doing, and who the man that she married really is. Her husband has more time for his work and young starlets (e.g., Anna Faris' Kelly) than for her. Bob and Charlotte, both lonely, lost, and sleepless, happen upon each other in the lounge of the hotel where they are staying (the Park Hyatt Tokyo) and strike up an unusual friendship.

Drawn together by their mutual dissatisfaction and alienation, the two experience the stranger side of Tokyo nightlife, playfully exploring the foreign city, and finding comfort in relating to each other when nothing else in their lives seems to fit. Against the expected movie stereotype of man meets woman, the friendship is denied the chance to bloom into romance, and yet their fleeting time together makes a strong impression on both characters.

A key moment finds Bob, Charlotte, and some friends in a karaoke bar. They take turns singing various numbers. The scene concludes with Bob singing to Charlotte an uncontrived version of Roxy Music's melancholic hit .

In the end, some critics say the film is a delicately nuanced look at the mechanics of verbal and emotional miscommunication, igniting a spark of common humanity and yearning at the intersection between a mid-life and a quarter-life crisis. Slyly appealing to Baby Boomers as much as Generation X-ers, rapidly earned itself a cult following for its almost uncanny ability to connect on a very personal level with viewers across the spectrum of age and culture.

Autobiographical elements

Much has been made of the parallels between the characters in the film and those in Coppola's own social circles. Ribisi's character is similar to Coppola's then-husband Spike Jonze, and claims have been made that Faris' character is based on Cameron Diaz, with whom Jonze had worked on (1999). Were this the case, then Johansson's character would represent Coppola. Coppola denied these connections in an

Reaction

Boosted by critical acclaim and audience word-of-mouth, this modest feature film (with only a $4 million budget) became a comparative box office hit. and distinctive directing, but especially for Murray, who by most accounts gave the performance of his career. Johansson (only seventeen when the film was made) also received notice for her strong performance.

Some have strongly criticised the movie for being what is perceived to be a stereotyped and unsympathetic portrayal of Japanese culture. Many of the Japanese characters serve as comic relief and much of the humor is at their expense based on common Japanese stereotypes, such as their mispronouncing English or their relatively short stature. This position is not universally held as others have defended the film against these allegations. One Peter Sattler, in a letter to movie critic David Edelstein of , wrote that "the feelings of strangeness are entirely in the American characters. The camera records beauties—cultural and natural—that the 'lost' visitors are unable to register or understand.... In the movie, Japanese culture estranges you from American culture—makes American culture look strange and dubbed, as much as the other way around." However, it should be noted that in reality, Japanese are more accepting of American culture, while most Americans hold the ethnocentric viewpoint that Japanese culture is strange and therefore mock Japanese frequently for comedy. This is particularly true in this film. According to proponents of the film, it should be understood that the "alien" landscape of Tokyo serves largely to illustrate the alienation the main characters experience, a feeling that persists not because they are in a foreign land, but because they are human. Critics say that the alienation could have been done without scenes of stereotypes that mock Japanese culture. For instance, the average of a Japanese male today is comparable to that of an American, due to an improvement in nutrition and diet.

In attempting to explain the disparity between critics' and others initial acclaim and subsequent reported panning by a few DVD renters, Roger Ebert suggested the difference might be caused because the film is much more impressive when viewed on a theater's big screen.

The film won an Academy Award for best original screenplay. It was also nominated for best director (the first time an American woman was nominated for this award), picture, and actor.The film won Golden Globes for best musical or comedy motion picture, screenplay, and musical or comedy actor. It was also nominated for best director, and musical or comedy actress.At the BAFTA film awards, the film won the best editing, actor and actress awards. It was also nominated for best film, director, original screenplay, and cinematography.The bar featured throughout the film is the New York Grill restaurant, situated on the 52nd floor of the Park Hyatt Tokyo hotel in Shinjuku-Ku, Tokyo. The bar features two movie-inspired beverages—the L.I.T and the Sofia—in addition to an open kitchen and floor-to-ceiling windows.