Lost in Translation is a romantic comedy-drama film written and directed by Sofia Coppola. Bob Harris, an aging American movie star, arrives in Tokyo to film an advertisement for Suntory whisky.
Charlotte, a young college graduate, is left in her hotel room by her husband, John, a celebrity photographer on assignment in Tokyo. Charlotte is unsure of her future with John, feeling detached from his lifestyle and disillusioned about their relationship.
Bob's own year marriage is strained as he goes through a midlife crisis. Each day, Bob and Charlotte encounter each other in the hotel, and finally meet at the hotel bar one night when Lost in translation 2 can sleep. Eventually, Charlotte invites Bob to meet with some local friends of hers.
The two bond through a fun night in Tokyo, welcomed without prejudice by Charlotte's friends and experiencing Japanese nightlife and culture. In the days that follow, Lost in translation 2 and Charlotte's platonic relationship develops Lost in translation 2 they spend more time together. One night, each unable to sleep, the two share an intimate conversation about Charlotte's personal troubles and Bob's married life.
On the penultimate night of his stay, Bob sleeps with the hotel bar's female jazz singer. The next morning Charlotte arrives at his room to invite him for lunch and overhears the woman in his room, leading to an argument over lunch.
Later that night, during a fire alarm at the hotel, Bob and Charlotte reconcile and express how they will miss each other as they make a final visit to the hotel bar. The following morning, Bob is set to return to the United States. He tells Charlotte goodbye at the hotel lobby and sadly watches her walk back to the elevator.
In a taxi to the airport, Bob sees Charlotte on a crowded street and gets out and goes to her. He embraces the tearful Charlotte and whispers something in her ear.
The two share a kiss, say goodbye and Bob departs. Over the course of the film, several things are "lost in translation".
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In several exchanges, the director gives lengthy, impassioned directives in Japanese. These are invariably followed by brief, incomplete translations from the interpreter. In addition to the meaning and detail lost in the translation of the director's words, the two central characters in Lost in translation 2 film—Bob and Charlotte—are also lost in other ways.
On a basic level, they are lost in the alien Japanese culture. But in addition, Lost in translation 2 are lost in their own lives and relationships, a feeling, amplified by their displaced location, that leads to their blossoming friendship and growing connection with one another.
By her own admission, Coppola wanted to create a romantic movie about two characters that have a moment of connection. The story's timeline was intentionally shortened to emphasize this moment.
Murray has described his biggest challenge in portraying Bob as managing the character's conflicted feelings. On one hand, Murray said, Bob knows that it could be dangerous to become too close to Charlotte, but on the other, he is lonely and knows that having an affair Lost in translation 2 be easy.
Murray worked to portray a balance between being affectionate and being Lost in translation 2. The academic Marco Abel lists Lost in Translation as one of many films that belong to the category of "postromance" cinema, which he says offers a negative perspective of love, sex, romance, and dating.
According to Abel, the characters in such films reject the idealized notion of lifelong monogamy.
The author and filmmaker Anita Schillhorn van Veen interprets the film as a criticism of modernityin which Tokyo is a contemporary " floating world " of fleeting pleasures that are too alienating and amoral to facilitate meaningful relationships. The author and lecturer Maria San Filippo contends that the Lost in translation 2 setting, Tokyo, is an audiovisual metaphor for Bob and Charlotte's world views. She explains that the calm ambience of the city's hotel represents Bob's desire to be secure and undisturbed, while the energetic atmosphere of the city streets represents Charlotte's willingness to engage with the world.
Robert Hahn, an essayist writing for The Southern Reviewsuggested that the filmmakers deliberately used chiaroscurothe art of using strong contrasts between light and dark to support the story. He wrote that the film's dominant light tones symbolize feelings of humor and romance, and they are contrasted with dark tones that symbolize underlying feelings of despondency. He compared this to the technique of the painter John Singer Sargent.
The film's opening shot, which features a close shot of Charlotte sitting in translucent pink underwear, has interested various commentators. In particular, it has been compared to the portraitures of the painter John Kacere and the image of Brigitte Bardot in the opening scene of the film Contempt.
Dwyer wrote that when the two shots are compared, they reveal the importance of language difference, as both films highlight the complexities involved with characters speaking multiple languages. Coppola revealed in a interview that the shot is indeed based on the art of Kacere. He used the shot as Lost in translation 2 example of the film's obvious attractions, which are characteristic of mainstream filmand its subtle ones, which are typified by "indie" film.
Coppola devised the idea of Lost in Translation after many visits to Tokyo in her twenties, basing much of the story on her experiences there.
Coppola spent six months writing the film, beginning with "short stories" and "impressions" that culminated in a page script. Coppola wrote the film with Murray in mind and said she would not have made it without him.
Lance Acord, the film's director of photography, has written that the cinematographic style of Lost in Lost in translation 2 is largely based on "daily experiences, memories and impressions" of his time in Japan. Location scouting was carried out by Coppola, Acord, and Katz; and Coppola created 40 pages of photographs for the crew so that they would understand her visual intentions. Acord sought to maximize available light during shooting and use artificial lights as little as possible.
He described this approach as conservative compared to "the more conventional Hollywood system", for which some of the crew's Japanese electricians thought he was "out of his mind".
Most of the film was shot on an Aaton camera with 35 mm film stockusing Kodak Lost in translation 2 T stock for nightlight exteriors and Kodak Vision T stock in daylight. A smaller Moviecam Compact was used in confined locations.