Post by theblakeman on May 8, 2004 20:05:02 GMT -5
LOST IN TRANSLATION
Back in 2003, this movie had quite a bit of attention from critics, from which it recieved high praises. Now in 2004, I finally got around to watching it.
Lost in Translation is a film about 2 losers; one an old, bald and ugly loser and the other a young loser who clearly has some sort of mental disability. The plot is made up of these 2 losers coming together in a strange, foreign land with lots of flashy lights and noises, and find they have something in common that they can share with each other; that something being the fact that they are both losers.
The story unfolds with the losers complaining; HOWEVER, Lost in Translation does something quite clever! Instead of listening to the characters complain and whine and sully over their pathetic, idiotic lives, the complaining is done through long, boring camera shots, scenes devoid of conversation, and with dull, monotonous music. The viewer is treated to this through the entire film.
Honestly, I am at a loss of sense and logic as to how such a lame film was so critically acclaimed. Then again, most critics tend to inflate their egos to a point where any film that is "off-beat" becomes a work of art and they're able to find the "deep meanings" and "hidden messages" within the chest hair on Bill Murray's man-breasts. I go to films to be entertained, not to watch 2 people whine about their lives (you know, well-fed, wealthy, upper-middle class sort of lives which are always just so DREADFUL). If they are so depressed with how they are, or how their spouse is, why not simply slit their wrists and end their lives (as well as my precious time spent watching this movie)? Is there a shortage of sharp, deadly objects in Japan?
And speaking of Japan, this film does an excellent job at portraying the stereotypes American's love, and ridiculing the stereotypes that there commonly "R" in Japan. The whole "R" and "L" thing has been done to death in regards to humor over the years, and yet it is the highlight of humor in this movie. And of course, the main characters act like Americans wherever they go, not respecting or trying to understand anything else about a culture outside their own. Oh, but wait, who could blame them when their lives are so miserable? But in another light, Sophia Coppola's lack of understanding certainly portrays Americans well in this movie.
But the main thing about it isn't the setting. The setting was merely window dressing, and the make-up of the only interesting aspects of the movie (the footage of Tokyo certainly is grand). The core of the film is about the losers, our lovable characters who act like idiots since their lives are just a little too complex.
This movie totally ruined any joy I would get from traveling to Japan, as I will be thinking constantly about how horrendous my life is. In essence, the movie succeeds in creating its atmosphere, an atmosphere that lulls you into a disenchanted slumber. That is not an atmosphere I ever wish to have.
Thanks so much, Sophia Coppola, for proving that your movies can in fact surpass your father's in terms of nuts.
Back in 2003, this movie had quite a bit of attention from critics, from which it recieved high praises. Now in 2004, I finally got around to watching it.
Lost in Translation is a film about 2 losers; one an old, bald and ugly loser and the other a young loser who clearly has some sort of mental disability. The plot is made up of these 2 losers coming together in a strange, foreign land with lots of flashy lights and noises, and find they have something in common that they can share with each other; that something being the fact that they are both losers.
The story unfolds with the losers complaining; HOWEVER, Lost in Translation does something quite clever! Instead of listening to the characters complain and whine and sully over their pathetic, idiotic lives, the complaining is done through long, boring camera shots, scenes devoid of conversation, and with dull, monotonous music. The viewer is treated to this through the entire film.
Honestly, I am at a loss of sense and logic as to how such a lame film was so critically acclaimed. Then again, most critics tend to inflate their egos to a point where any film that is "off-beat" becomes a work of art and they're able to find the "deep meanings" and "hidden messages" within the chest hair on Bill Murray's man-breasts. I go to films to be entertained, not to watch 2 people whine about their lives (you know, well-fed, wealthy, upper-middle class sort of lives which are always just so DREADFUL). If they are so depressed with how they are, or how their spouse is, why not simply slit their wrists and end their lives (as well as my precious time spent watching this movie)? Is there a shortage of sharp, deadly objects in Japan?
And speaking of Japan, this film does an excellent job at portraying the stereotypes American's love, and ridiculing the stereotypes that there commonly "R" in Japan. The whole "R" and "L" thing has been done to death in regards to humor over the years, and yet it is the highlight of humor in this movie. And of course, the main characters act like Americans wherever they go, not respecting or trying to understand anything else about a culture outside their own. Oh, but wait, who could blame them when their lives are so miserable? But in another light, Sophia Coppola's lack of understanding certainly portrays Americans well in this movie.
But the main thing about it isn't the setting. The setting was merely window dressing, and the make-up of the only interesting aspects of the movie (the footage of Tokyo certainly is grand). The core of the film is about the losers, our lovable characters who act like idiots since their lives are just a little too complex.
This movie totally ruined any joy I would get from traveling to Japan, as I will be thinking constantly about how horrendous my life is. In essence, the movie succeeds in creating its atmosphere, an atmosphere that lulls you into a disenchanted slumber. That is not an atmosphere I ever wish to have.
Thanks so much, Sophia Coppola, for proving that your movies can in fact surpass your father's in terms of nuts.
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