Film Analysis Of Lost In Translation Essay

Length: 6 pages Sources: 1 Subject: Leadership Type: Essay Paper: #24974493 Related Topics: Cinematography, Movie, Film, Satire
Excerpt from Essay :

Film Analysis & Critique: Movie Lost in Translation

A film can have numerous motives. A film may possibly have the purpose of conveying a message, to reveal an aspect virtuously for its aesthetic appeal. However more often than not a film may have the purpose of attaining an emotional reaction from the audience or viewers. It is imperative to take note that attaining this emotional response from the audience is largely reliant on the work done by the film director. The director of the film in discussion, Lost in Translation, Sofia Coppola, attained this in an exceptional manner. By making use of lighting and music as well as dialogue, it is without doubt that the odd love affair, which is the basis of this storyline, is quite appealing.

In apparent aspects, the film appears to be one where not a lot takes place. Lost in Translation's plot is free flowing and marginalized to the more momentary storyline components. Quietness is more communicative in comparison to dialogue, and poetic lyricism dictates the scene. In accordance with Olsen (Olsen, 15), Sofia Coppola divulges that while writing the script of Lost in Translation and directing it, her main objective was to seize a distinctive aspect or feeling of romantic melancholy. The film in its depiction parts away substantially from the expected portrayal of romance (Olsen, 15).

The existence of performers who enthusiastically change their screen faAades enhances an additional level of satire. Coppola's concentration appears to be not as much in convention but more in generating variances from the common romance film model. Lost in Translation is an imperceptibly sensual, awe-inspiring romance film. The level of intensity and passion in the film is found in its minor, apparently immaterial, softer instants. In several different ways and manners, Coppola's film displays symbols of characteristic European art cinema (Olsen, 15).

Precisely in her concentration in having a preference for motionlessness instead of than action, Coppola refabricates a comparable generalized resonance that was at the outset established by European filmmakers. Sofia Coppola's captivation is with the abridgment between discourse and its rendition and in the affection that Bob and Charlotte discover in contrast to the frantic environment of present-day Tokyo. Significance and understanding emanates from the breaks between hearing and understanding, motionlessness and action (Olsen, 15).

In viewing this film, one theme that is clear and apparent is that of isolation and loneliness. Without doubt the film making conveys that the shooting of the wide angles of the characters and performers in the film take in a minimal space alone, or a huge space encompassing several people scuffling by them totally oblivious and unmindful of their existence (Renee, para. 3).

These two aspects function together to put out and sell the notion that Bob, the character played by Bill Murray, and Charlotte, the character played by Scarlett Johansson, are secluded, isolated, and missing something. In accordance with Rennee, Coppola makes use of the conception and notion of balance to convey the emotional state of the characters in the film. Basically, the world of the characters in the film, and in this case being Tokyo, comes to be the visual depiction of their emotional state and state of mind. For example, at the scene when Charlotte and Bob land in Tokyo, both of these characters are discontented and unbalanced in an emotional way, so the manner in which they are composed in numerous shots mirrors that visually (Renee, para. 3). This is in the sense that they engage in one side of the frame devoid of much to balance or offset them. At the time when they ultimately meet each other, nonetheless, she starts to bring that counterpoise to his



It is imperative to take note that the karaoke scene in the film is such a significant instance in the film as this is the moment when Charlotte and Bob give an indication that they sense a connection. They employ the songs that they select to express who they are and represent for the other and what they long for (Smith, para. 7).

This is the point in the film when Bob comes to a realization that Charlotte is his fantasy of an unsophisticated and simple future, and Coppola fondly shoots a curl of a smile across Bob's facial expression as he looks upon Charlotte as she performs the song "Brass in Pocket" while wearing a snowy pink wig. The film directing done by Coppola is deeply guaranteed in its mindfulness of solitude, in capturing the camaraderie and harmony of the two primary characters in their surveys and touring of a foreign scenery, and their indeterminate relationship that comes about out of a common feeling of loneliness and yearning to bond with other people (Smith, para. 7).

Coppola has outwardly made use of and embellished characteristic Japanese stereotypes existent in American culture and beliefs, to generate an unfamiliar state of affair Bob and Charlotte find themselves circumnavigating. This depicts the two pivotal characters as outsiders, permitting the two of them to find each other and in turn generate a connection that almost certainly would never have taken place or come about in their home environments (Smith, para. 7).

Despite the fact that the typecasts of Japanese individuals regarding behaviors and language, could be perceived as bigoted and discriminatory, the stereotypes are evidently inserted in the film so as to offer a more realistic and conceivable estrangement so as to forge the connection and also to bring about a comical feeling towards the film. The two characters Charlotte and Bob bemusement moment with respect to the peculiarities of Japan, obviously aid in powering their speedily developing and progressing friendship (Smith, para. 7).

The main alteration Coppola resolves to concentrate on is the language barrier. Dialect, or the manners in which we connect, and the methods of communication employed within the film, are obviously principal apprehensions for Coppola. Every now and then, the film conveys through what is not alleged (Smith, para. 7).

Occasionally as a replacement for the use of words, close consideration is taken into account for ambient sound, such as the sound of air conditioners and incandescent lights coming to be a part of the setting, a harmonious electric score, body movement, and intertwined editing of both self-contained figures, and packed paths and walkways. The language barrier offers a verbatim understanding of the title "Lost In Translation." At the same time, it allows for an understanding of being lost on a more extensive and spread-out scale. That is being incapable to talk to others, whether or not they communicate your language or also being estranged to technology (Smith, para. 7).

In reaction to the criticism of the film as dealing on stereotypes, the analysis undertaken by Lovejoy (Lovejoy, 11), suggests that Japan does not appear as Japan but instead more of a picture or image onto which these American feelings are mapped. Portrayed in the drowsy eyes of Charlotte, Japan comes to be a dreamy realm. This representation of Japan, facilitated by Charlotte's obscure viewpoint, facilitates a depiction that is imprecise, free flowing and portable (Lovejoy, 11).

The cinematography in the film to recreate a sentimental appealing and artistic similar to the shot, comparable to a reminiscence and a love story to picture the specific mixture of customary and western influences distinctive and representative of modern-day Japanese culture. In particular, the film provides Charlotte's expedition the sense of a peculiar biography travel program by following her all over Japan, through the congested and packed Shibuya Crossing, subversive in the Tokyo subway and lengthways through the shinkansen pathway for visitation to temples in Kyoto (Haslem, para. 15).

One other film technique employed in Lost in Translation by Coppola is cinematography and more so moving and shifting of the camera. Having very minimal cuts and plenty of movement within the film, it created and brought about a sense of continuity as if one was a spectator watching and marveling on this beautiful confluence and flowing together of circumstances as they take place (Haslem, para. 15).

However, this cinematography done by Coppola achieves an aspect that is difficult to attain majority of the time and that is to generate tension devoid of the help of cuts that include fast action and also climatic music. The audience can sense the sexual tension and love that is existent between Bob and Charlotte at every moving film shot and with each prolonged stare. By combining these techniques as well as the storyline, it is difficult to deny that the film bring about a strong and linked emotional reaction (Haslem, para. 15).

Sofia Coppola has managed to attain something that most if not all filmmakers long to accomplish and that is the anticipated reaction of the audience and viewers. The techniques employed by Coppola will take the audience on a voyage through the lives of Bob and Charlotte, an odd and rare meeting between two individuals from totally dissimilar places and who have different experiences…

Sources Used in Documents:

Works Cited

Haslem, Wendy. (n.d.) Neon Gothic: Lost in Translation. Sense of Cinema. Retrieved 19 September 2015 from:

Lovejoy, Alice. Two Lost Souls Adrift In Tokyo Forge An Unlikely Bond In Sofia Coppola's 21st Century Brief Encounter. Film Comment, July August 2003.Olsen, Mark. Sofia Coppola: Cool and the Gang. Sight and Sound, 14 (1), 2004.

Renee, V. (2014) What the Hell Did He Say to Her? An Analysis of Sofia Coppola's 'Lost in Translation'. No Film School. Retrieved 19 September 2015 from:

Smith, Adam James. Film Analysis of 'Lost In Translation', 2008. Retrieved 19 September 2015 from:

Cite this Document:

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"Film Analysis Of Lost In Translation", 21 September 2015, Accessed.11 August. 2022,

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