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List price: £12.99|
Our price: £12.99
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Average customer rating:
3.54 out of 5
Media: VHS Tape|
ISBN/ASIN : B0001GNDR0
Manufacturer : Momentum Pictures Home Ent|
Release data : 28 June, 2004
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A selection of product reviews
One of the finest, original romantic comedies.
This film is the best romantic comedy I have seen since When Harry Met Sally. However, I don't want to give you the impression that this is the same style of romantic comedy. It is a lot more sensitive in romance and symbolic in humour. The mainstay of the plot is that Bill Murray, famous actor and husband to an estranged wife, goes to work on a whiskey commercial in Japan. The duration of his stay is spent at a high class hotel in (I presume) Tokyo. Meanwhile, Scarlett Johansen's character is the young, fun-loving wife of a photographer working in Tokyo. She comes to be disenchanted with her marriage as she stays imprisoned in the hotel (as her charmless husband goes to photoshoots) with only loneliness to keep her company. That is, until Johansen and Murray meet, and despite the obvious difference in age, immediately click to build a powerful escape from the misery of their normal, drab lives. What ensues is a charming comedy (and you should know I'm one of those guys that typically doesn't go for romantic comedies). The nature of the film is very slow, with lots of elegant shots conveying the artificial confining atmosphere of a hotel. However, I don't want the reader to think that the film is boring. Far from it. It is fun, short and sweet. The more lively scenes are sublime, based on a masterful synthesis of Johansen and Murray's interaction and screen presence. The scripting is minimalist, but excellent. The dynamic between the two main characters is sleek and well executed, enticing the viewer to see how the tension will be resolved. And that, too, is accomplished and full of heart.
In response to previous reviewers' criticisms of this film I would say the following:
It is not true that the comedy in this film is founded on racist slants against the Japanese. The intense Japanese urban environment is confusing and overbearing to the central characters as a symbol of the confusion in their lives. The only clarity emerges from their interaction. Comedy scenes showing crazy tv-presenters and directors underline the inability of the characters to break through the surrounding confusion, and serve to highlight how priorities of the media-crazy world are utterly at odds with the harmony both Johansen and Murray's personalities seek. Furthermore, there are several scenes where the comedy does not even involve the Japanese, such as Murray's hilarious scene on the running machine. As to the claim that the film affords the Japanese no dignity is not true. Johansen's character witnesses and is in awe of the traditional Japanese wedding she witnesses towards the end of the film, which is symbol of her progress on her road to meaning in life.
Another critic believes that the film doesn't do enough to capture and retain that attention of the viewer. I don't doubt this for the critic concerned. Attention span is in short supply in today's society, where images on screens change at least a dozen times to the second. Attention is a two way thing. The viewer is as responsible for following what is happening as the film itself is. And this film happens to cater to those more cultured viewers who have patience enough to watch something beautiful unfold.
In summary, I hope I've not given away too much about the film. It really is worth watching. It is a sensitive exploration of two lonely souls looking to connect in a frantic and alien world, both cultural and emotional. And not a few good gags to boot. An outstanding picture.
You either love it or hate it. I love it.
Arty needn't mean inaccessible, as Lost In Translation sets out to prove. Sofia Coppola's follow up to The Virgin Suicides and that White Stripes video may arrive on a wave of hype and with a shiny arthouse overcoat, but it can appeal to both people who see cinema as an art form, and popcorn-munchers in search of some Friday-night fun.
That said, it's anything but disposable. We've only just entered 2004 and already we have a contender for performance of the year in Bill Murray, who plays fading, lost actor Bob Harris, who's being paid $2 million to endorse whiskey in Tokyo. He meets equally confused photographer's wife Charlotte (current blip on the indie radar Scarlet Johansson), and the two become friends as they wander around Japan. There's a sensitive romance threat looming throughout, as the pair's conversations become deeper. Coppola also offers Murray a chance to flex his comic muscles as he gets to grips with Japan. Luckily, Coppola stays focused- she doesn't let the film get too overlong and handles a slightly flimsy plot with ease. It's a simple film, romantic and funny in satisfying doses. If you stay engaged, which the formidable acting talent and direction will make sure you will be, you'll reap Lost In Translation's many rewards.
Breathtaking in its honesty
Bill Murray plays Bob Harris, a declining film star, who is paid lots of money to spend some time in Tokyo, promoting a brand of whiskey. Drifting from his wife and family, insomnia kicks in.
Whilst sitting in the hotel bar, he meets Charlotte (Scarlett Johansson), whose photographer husband is off working. They start to talk, and their relationship begins.
This film is breathtaking in it's simplistic approach to relationships. Refreshing in it's lack of sleaze and sex, but reassuring in it's hope and warmness. Not a lot happens- not a lot at all. They met, talk, finally get to sleep, and separate. That's it. But it's how they make you feel which lifts the warmth of this film.
murray demonstrates his characters fragility well with his mistake with the bar singer.Both he and Charlotte know they need each other far more than they want each other, and grow close through this.
Johansson's performance is brilliant, and it is clear that she can become an icon of our time, if given the right role. This starts her off in the right direction.
The writer and director of the film, Sofia Coppola, is rumored to have based this on her relationship with her Father. Frankly, I don't care if that is true; the fact is the film deals with subtle but real emotions.
Just don't expect action.