In 1999, Sofia Coppola made
her feature film directorial debut with the spellbinding adaptation of Jeffrey
Eugenides’ novel, The Virgin Suicides.
The film was a modest hit and heralded the young director as an emerging
talent. Her follow-up was a much more personal project, written while she was
going through a rough spot in her marriage and inspired by time she had spent
in Japan trying to figure out what she wanted to do with her life. She poured
out her feelings of loneliness and confusion and the result was Lost in Translation (2003), an
independent film starring Bill Murray and Scarlett Johansson as two lonely
people who meet in a posh Tokyo hotel and bond over insomnia and absent
spouses. Coppola’s film is a fascinating fusion of the chatty meet-cute between
two people in a foreign country from Before
Sunrise (1995) with the stylish existential ennui of Wong Kar-Wai’s In the Mood for Love (2000). It was a
surprise hit, striking a chord with many who identified with the romantic longing
that developed between the two main characters. Lost in Translation received numerous awards and critical praise
while also establishing Coppola as a major talent.
With the first appearance of
Bob Harris (Bill Murray), Coppola conveys that disorienting feeling of arriving
in a strange place while being jetlagged. In this case, it is the neon-drenched
urban sprawl that is Tokyo. He’s making a whiskey commercial instead of being
at home where his wife is redecorating his study. Bob is also missing his son’s
birthday and doesn’t seem all that upset about it; or rather he’s resigned
himself to it. One gets the feeling that he’d rather be thousands of miles away
than with his family. He’s an aging action movie star who has probably spent
most of his time on movie sets.
Charlotte (Scarlett
Johansson) is staying at the same hotel with her photographer husband John
(Giovanni Ribisi). Much like Bob, she can’t sleep and stays behind in the hotel
while he runs off on photo shoots with a band. We get some insight into how
she’s feeling when the young woman calls a friend back in the United States.
They start with the usual idle chit-chat, but pretty soon she’s choking back
tears and blurts out, “I don’t know who I married,” before quickly ending the
conversation so she can cry. It is an incredibly vulnerable moment that
Scarlett Johansson conveys so well. All the feelings that have been bubbling
under the surface finally come out. We’re never quite sure the source of
marital strife between her and John, but it is probably getting married too
young and that he is always busy while she follows him from job to job.
Bob bravely soldiers on
through the commercial, but it isn’t made easy by his translator who is not
telling him exactly what the director wants. Coppola doesn’t use any subtitles
during this scene so that we are as bewildered and frustrated as Bob. Like
Charlotte, he is unhappy; tired of pimping whisky and is eager to leave the
country as soon as possible. That night, he takes refuge in the hotel bar where
the house band (an ex-pat. group rather amusingly named Sausalito) performs a
bad cover of “Scarborough Fair,” much to his and Charlotte’s bemusement, who is
there with John. She buys Bob a drink and they exchange a nod of
acknowledgement from across the room, but don’t actually meet. This is the
beginning of relationship that develops between these two lonely people who
feel lost in Japan and find solace in each other’s company.
As the film progresses, we
get additional insight into the Charlotte and John’s relationship. Her feelings
of estrangement are only reinforced when she and John run into Kelly (Anna Faris), a popular American actress in town to promote her latest movie (her
press conference is a hoot as she spouts all kinds of cliché celebrities dish
out during these kinds of junkets). John and Kelly engage in mindless banter
(“Oh my god, I have worst B.O. right now,” she says at one point), much to
Charlotte’s bemusement and thinly-veiled contempt. She has just graduated from
college last spring and isn’t sure what she wants to do.
In his own dry way, Bob has
no illusions about his lot in life as he tells Charlotte that is trip to Japan
is basically, “taking a break from my wife, forgetting my son’s birthday, and
getting paid $2 million for endorsing a whiskey when I could be doing a play
somewhere.” Bill Murray delivers a wonderfully nuanced performance that expands
on the sad sack businessman he played in Wes Anderson’s Rushmore (1998). Much of the role in Lost in Translation calls for his trademark charm and dry sarcasm,
but it also requires him to dig deeper the more time Bob spends with Charlotte,
allowing her past his façade. In doing so, Bob lets us in as well and we
sympathize with the actor because we get to know him as he reveals personal
details to her.
Towards the end of the film,
Bob’s relationship with his wife gets more fractured as she tells him how their
kids miss him, “but they’re getting used to you not being here. Do I need to
worry about you, Bob?” to which he replies, “Only if you want to.” This is
quite possibly the most heartbreaking line in the film as one assumes that Bob
is probably headed for a divorce once he returns home. His self-destructive
habits surface and we get some insight into why he and his wife are so
estranged. This also affects his friendship with Charlotte and the temporary
spell that was cast over them has been lifted and reality rears its ugly head.
Interspersed throughout Lost in Translation are little visual
interludes, like a nice shot of Charlotte sitting on the windowsill of her
hotel room with the city surrounding her in the background, that suggest
solitude. There is also a montage of sights and sounds when she leaves the
hotel to experience Japanese culture, but finds navigating public
transportation a bit disorienting and overwhelming, which Coppola conveys
through hand-held camerawork that puts us right in the thick of the city’s
hustle and bustle. We see Japanese culture through Charlotte’s eyes and Coppola
does a nice job with these snapshots, gradually immersing us in this world so
that we identify even more with Bob and Charlotte.
The centerpiece of Lost in Translation is when Bob and
Charlotte go out for a night on the town and meet a few of her friends. This
sequence not only allows us to see more of Japanese culture, but it also gives
Murray a chance to riff on the situations and people Bob and Charlotte
encounter. Coppola immerses us fully in the sights and sounds of the city, like
the nightclub that is decorated with huge white weather balloons that allow
images to be projected on them.
If, early on, Coppola seemed
to be falling back on Japanese stereotypes of their people and culture (most
notably the prostitute who wants Bob to “rip her stockings,” which is
particularly cartoonish and awkward, temporarily breaking the hypnotic, dreamy
spell that Coppola casts), it is here she goes deeper and we see that
Charlotte’s Japanese friends are just like any other twentysomethings. There
are all kinds of nice touches, like the conversation Bob carries on with a
young Japanese man in French, or the playful image of Bob, Charlotte and their
friends running through the streets while someone shoots at them with a BB gun.
The night culminates in the best moment where they all hangout at someone’s
apartment and end up singing karaoke. Charlotte (wearing an adorable pink wig)
serenades Bob when she sings a cover of “Brass in Pocket” by The Pretenders while
Bob sings “(What’s so Funny ‘Bout) Peace, Love and Understanding,” before working
his way through a surprisingly moving rendition of “More Than This” by Roxy
Music.
It is this scene where Bob
and Charlotte forget their troubles and lose themselves in the moment. We see
them smile, laugh and have a good time. The looks they exchange during this
scene suggest a growing attraction between them. It is rather telling that she
is able to sleep for the first time since she arrived in Japan after the
special night they had together. He is even able to doze off in the taxi ride
back to the hotel. What I find interesting is how their second night out is in
sharp contrast to the first one. Charlotte meets Bob in a cavernous nightclub
populated by unattractive-looking topless dancers gyrating to “Fuck the Pain
Away” by Peaches. They don’t stay long, head back to the hotel where they stop
briefly at the bar, but after spotting Kelly singing “Nobody Does It Better”
horribly off-key they call it a night. Only insomnia keeps them both awake and
eventually she hangs out in his room. They talk deep into the night and
Charlotte eventually confesses to Bob that she’s “stuck” in her life and asks
him, “Does it get any easier?” to which he replies, “The more you know who you are
and what you want, the less you let things upset you.”
Charlotte doesn’t know what
she wants to do. She tells him that she tried writing and photography, but was
unhappy with both. Charlotte asks Bob about marriage and if it gets any easier
to which he replies, “That’s hard,” and speaks wistfully about how he and his
wife used to have fun, but everything got complicated once they had kids. It’s
a wonderful scene where we see these characters at their most vulnerable.
Murray drops all his shtick and conveys an honesty that is surprising. What is
so magical about it is how these two characters are able to coax all of this
personal stuff out of each other. Once they are removed from all the noise and
chaos of the world around them are they able to speak honestly to each other
and let down their guard. By this point, we’ve grown to care about them and
have become invested in their relationship.
Lost in Translation came from a very personal place, so much so that Sofia Coppola was
worried that very few people would be able to relate to it. The film was
inspired by the time she spent wandering around Tokyo after graduating from
college. A friend of hers was doing a fashion show in Japan and asked for help
producing it. Once there, she met Fumihiro Hayashi a.k.a. Charlie Brown (who
plays himself in the film), who ran a magazine and hired her to take
photographs. She spent a lot of time driving around in her friend’s car,
listening to music and taking in the sights. “Tokyo is just such an exciting
city – totally visually interesting, crazy and overwhelming.” She also wanted
to capture the feeling of being jetlagged in a strange city: “I’ve had my share
of jet-lagged moments. Being in a hotel, and jet-lagged, kind of distorts
everything. Even little things that are no big deal feel epic when you’re in
that mood. Your emotions are exaggerated, it’s hard to find your way around,
it’s lonely.”
Coppola started off writing
different little impressions she had of her time in Tokyo. From that, she wrote
a bunch of short stories and collected pictures for the visuals. She then used
that as the basis for her screenplay. When writing it, Coppola based the
character of Charlotte on herself when she was younger and faced the dilemma of
“What am I gonna do?” She was also trying to figure out her marriage to
then-husband Spike Jonze, who, at the time, was a very in-demand music video
director and filmmaker. She said in an interview, “My friends said, ‘Finish the
script and you’ll know what to do.’ I think I had doubts, but I didn’t listen
to them because I was young.”
The character of Bob Harris
was written with Bill Murray in mind and came out of her imaging what he would
be like in Tokyo. She said, “He has something that’s really sincere and
heartfelt, but really funny and at the same time … tragic.” She was a fan of
his movies and always wanted to work with him. Several moments in the film came
from things she had observed in real life, like the hotel bar band covering
“Scarborough Fair,” and seeing her friend Fumihiro Hayashi performing a karaoke
rendition of “God Save the Queen.” After seeing her friend in action, she
realized, “I have to put this in a movie.” She also wanted to specifically set
it at the Park Hyatt hotel because she had stayed there during her press tour
for The Virgin Suicides and was
familiar with it. Coppola spent six months writing the script and during that
time she got stuck after the first 20 pages and went back to Tokyo to remember
the parts of the city she liked.
To help out with the music
for the film, Coppola enlisted the services of Brian Reitzell, veteran member
of the Los Angeles band Redd Kross and who had worked with her on The Virgin Suicides. Coppola told him
the kind of mood she wanted to convey and, having spent time in Japan as well,
he understood what she wanted. Per her request, Reitzell compiled three mixes,
homemade CDs that contained ambient tracks with artists as varied as Brian Eno
and The Jesus and Mary Chain. She listened to these mixes while writing the
script and then played them while scouting locations. When it came to score the
film, Reitzell licensed several tracks from his mixes and also enlisted the help
of My Bloody Valentine frontman Kevin Shields to help compose some original
music. Reitzell said, “I knew he could capture that droning, swaying, beautiful
kind of feeling that we wanted.”
Coppola saw Scarlett
Johansson in Manny & Lo (1996)
and thought she was “a cute girl with that husky voice.” After a brief lunch
meeting in a Manhattan diner Coppola cast the young actress in her film. The
director said, “She can convey an emotion without saying very much at all.”
With Murray, Coppola spent eight months tracking down and trying to convince
the notoriously elusive comedian to star in her film by sending him letters,
leaving voicemail messages and asking mutual friends, like filmmaker Wes
Anderson, to put in a good word. All of this hustling paid off as Murray
finally agreed to do the film. However, the actor had his doubts: “The whole
thing felt slight, which was a little troubling,” but she was persistent and
convinced him that this was a passion project for her.
Coppola did very little
rehearsing before filming; just once with Johansson and Giovanni Ribisi so that
they could convincingly play a married couple. Leading up to principal
photography, Coppola was still unsure if Murray was actually going to show up,
but a week before it was to start he arrived in Japan, much to her relief. The
shoot lasted 27 days in Tokyo on a $4 million budget with the cast and crew
staying in the Tokyo Hyatt where much of the film was set. Johansson met Murray
in Tokyo and the next day they started filming so the chemistry that develops
between their characters mirrored the actors in real life. With very little
money and shooting permits, Coppola and her small crew shot a lot of the film
guerrilla style, utilizing hand-held camerawork on the streets and sneaking
shots on public transportation.
Lost in Translation received overwhelmingly positive
reviews from critics. Roger Ebert gave the film four out of four stars and
wrote, “Bill Murray has never been better. He doesn’t play ‘Bill Murray’ or any
other conventional idea of a movie star, but invents Bob Harris from the inside
out, as a man both happy and sad with his life – stuck, but resigned to being
stuck.” In his review for The New York
Times, Elvis Mitchell wrote, “Ms. Coppola has shown an interest in
emotional way stations. Her characters are caught between past and future –
lost in translation. Perhaps her films are a kind of ongoing metaphorical
autobiography … There’s a lot up there on the screen, plenty to get lost in.” Entertainment Weekly gave it an “A”
rating and Lisa Schwarzbaum wrote, “Melancholy and longing have rarely looked
so attractive – even desirable – nor has a movie with opportunities for
‘Lolita’-hood been turned so subtle, wise and often funny a study of chance
encounter.” The New York Observer’s
Andrew Sarris wrote, “Of course, Mr. Murray gets all the laughs with his
exquisite timing and wry delivery, but Ms. Johansson makes an eloquent and
charismatic listener; it’s in her alert and intelligent responses to Bob’s
malaise that his passions toward her are ignited.”
USA Today gave the film
three-and-a-half out of four stars and Mike Clark wrote, “Coppola’s second
feature offers quiet humor in lieu of the bludgeoning direct assaults most
comedies these days inflict.” Time
magazine’s Richard Corliss wrote, “Sofia Coppola has a witty touch with
dialogue that sounds improvised yet reveals, glancingly her characters’
dislocation. She’s a real mood weaver, with a gift for goosing placid actors …
and mining a comic’s deadpan depths.” In his review for the Village Voice, J. Hoberman wrote,
“Coppola evokes the emotional intensity of a one-night stand far from home—but
what she really gets is the magic of movies … By the cold light of day it’s
difficult to believe that, as individuated as the performances are, this sad
middle-aged man and that restless young wife could ever feel so deeply for each
other but it’s shivery to think so.” Finally, the Los Angeles Times’ Kenneth Turan wrote, “The film itself – tart and
sweet, unmistakably funny and exceptionally well observed – marks the arrival
of 32-year-old writer-director Sofia Coppola as a mature talent with a
distinctive sensibility and the means to express it.”
Much like many of the
protagonists in Wong Kar-Wai’s films, Bob and Charlotte connect for a brief
moment in time. It may be fleeting, but that does not diminish its
significance. They were there for each other when they needed human contact the
most, someone to connect with at a low point in their respective lives when
they felt alone and adrift in life. We’ve all felt this way at some point in
our lives, which makes Lost in
Translation very relatable. There is a yearning, not just by the
characters, but we are meant to feel it too because we want to see Bob and
Charlotte together despite their marriages to other people. Coppola sums up
this wistful feeling of unrequited love best in the final scene that is scored
to “Just Like Honey” by The Jesus and Mary Chain. Bob hugs Charlotte and
whispers something unintelligible in her ear when the opening drumbeat of the
song kicks in. It is a sublime moment that is rich with emotion because we’ve
been on a journey with these characters and are invested in them. Bob and
Charlotte head back to their respective lives, much like the main characters at
the end of Before Sunrise, with the
knowledge that their lives have been enriched by the brief time they spent
together. Coppola ends on a series of shots of the city, but they look
different because of the journey we’ve been on with these characters. We now
see things in a different way.
SOURCES
Betts, Kate. “Sofia’s
Choice.” Time. September 15, 2003.
Diaconescu, Sorina. “An
Upstart, Casual But Confident.” The Times. September 7, 2003.
Galloway, Steve. “Sofia
Coppola: The Trials, Tears and Talent.” The Hollywood Reporter. May 8,
2013.
Hirschberg, Lynn. “The
Coppola Smart Mob.” The New York Times. August 31, 2003.
Hundley, Jessica. “An
Invisible Role.” The Times. September 11, 2003.
Mitchell, Wendy. “Sofia
Coppola Talks about Lost in Translation.”
indieWIRE. December 14, 2009.
Thompson, Anne. “Tokyo
Story.” Filmmaker. Fall 2003.
Topel, Fred. “Sofia Coppola
on Lost in Translation.” Screenwriter’s
Monthly. September 23, 2003.
Vernon, Polly. “Scarlett Fever.” The Observer. December 27, 2003.
