Sofia Coppola deciphers emotion in 'Translation'
By Jeff Renfro
In Sofia Coppola's sophomore film "Lost in Translation," (her debut was 2000's "The Virgin Suicides") she has stepped out of the considerable shadow of her film-legend father and established herself as a director and writer to watch in the coming years.
The story takes place over a week in Tokyo. Bill Murray plays Bob Harris, a washed-up American film star who has come to Tokyo to shoot ads for Japanese whiskey. He is there only to earn a quick paycheck, and is making arrangements to leave as soon as he arrives. He struggles with insomnia and spends much of his time alone until he meets Charlotte (Scarlett Johansson).
Charlotte has recently graduated from Yale with a degree in philosophy and she is in Tokyo with her husband, who spends his days photographing rock stars.
Both Charlotte and Bob are searching for a reason to live and through a series of adventures in karaoke bars, strip clubs and ancient gardens they rediscover a passion for life.
Murray delivers a performance that is sure to be overlooked by the Academy, but is, nevertheless, amazing. He offsets the charm that has marked his characters throughout his career with a quiet sadness that is hard to pin down. There is no emotional explosion, just a constant emptiness of the soul that Murray masterfully conveys through his lonely glances.
The surprise performance of the film is delivered by Johansson, who delivers on the promise that she showcased in 2000's "Ghost World." For much of the film, Charlotte is defined by her longing for meaning. Johansson perfectly portrays this with a soft, raspy voice and a series of subtle sighs.
Tokyo's bustling atmosphere completed the ensemble cast. Coppola, along with cinematographer Lance Acord ("Being John Malkovich"), offsets Murray and Johansson's pensiveness with the urban bedlam that is Tokyo. Flashing, garish lights cover the landscape and the noise and movement of traffic and thousands of Japanese commuters disorient the audience in the same way that it disorients the characters. The culture and language of Japan serve to isolate the characters and illustrate their emotional states. Tokyo takes on an almost sinister quality, representing the smothering traits of the modern world.
A highlight of the film is Coppola's mastery of music as a cinematic device. Several of the tracks featured in the movie were written by Kevin Shields, formerly of My Bloody Valentine. The sad, austere soundtrack perfectly reflects the mood of the two main characters. The musical climax occurs when The Jesus and Mary Chain's "Just Like Honey" plays as the film comes to a close. The song plays as the sun is rising over Tokyo, representing the sense of spiritual rebirth experienced by Murray.
The beauty of "Translation" lies in its simplicity. Coppola remains patient where other young directors would charge forward. She allows the camera to remain on the characters even when they are at their most mundane. This technique illustrates the desperation felt by Bob and Charlotte. Extended shots of Johansson staring out of the window or Murray sitting on his bed in a kimono set Coppola apart as a director. She allows her actors to act in these spaces.
In the conclusion of the film, Coppola deftly avoids cliche, while offering an ending that brings both closure and catharsis. Coppola's ability to convey the emotional struggles of her characters along with the framing and length of seemingly inconsequential shots shows real talent. If she continues on this path, she may one day rival her father.
Grade: A