Estimated delivery within business days. Estimated delivery dates - opens in a new window or tab include seller's handling time, The Unisex - Lost In Translation (CD), origin postcode, destination postcode and time of acceptance and will depend on postage service selected and receipt of cleared payment - opens in a new window or tab. Delivery times may vary, especially during peak periods. Visit store. Start of add to list layer.
Add to Watchlist Add to wish list. Sign in for more lists. No additional import charges at delivery! This item will be posted through the Global Shipping Program and includes international tracking. Learn more - opens in a new window or tab. Seller's other items. Sell one like this. Related sponsored items Feedback on our suggestions - Related sponsored items.
Almost gone. Platinum Alternative 80s [CD]. Neil Young - Homegrown [CD]. Similar sponsored items Feedback on our suggestions - Similar sponsored items. Lost In Translation - Original S Coppola sits back and watches with a keen eye and a sense of mannered restraint how Bob and Charlotte get close over the course of their visit in Tokyo.
Coppola's interest lies in Bob and Charlotte's situation moreso than the progression of their relationship, which is a difficult thing to pull off in film without working with more of an impressionistic style. The brushstrokes Coppola paints this story in are more or less minimal, but they craft just enough out of a little so that we can recognize these characters, their feelings, and their current state. They have transcended living life into simply existing within it, rarely getting excited and scarcely finding any kind of mutual contentment.
Again, in these situations, all you need is another soul who feels the same way you do, and in this case, that's bottled up angst and complete and total uncertainty.
The title represents a lot of things and the cultural gap Bob and Charlotte experience is only a small part of it; these two souls are lost within the translation of life. Life has keep going and two formerly active people who could keep up with the bustle have let it all pass by, letting sadness dominate their lives and fogginess encapsulate the remnants of the future. The translation lost is within the characters here, and that's sometimes scarier than not speaking the same language of the community.
The only issue that arises from this is that we get the impression that Coppola either doesn't understand Japanese culture or simply doesn't want to, what with the abundance of cheap stereotypes and archetypal Japanese characters played for nothing but laughs here. Coppola opens by ostensibly getting most out of her way, thankfully, however, through the use of subtle humor, but sporadically doubles back to throw in another jab or two, which can briefly throw the film out of whack.
It reminds me of when a really artsy film wants to try and pander and connect with the audience when it thinks it has lot them, and, as shown here amidst others, the action has the opposite effect. However, Murray and Johansson craft wonderful, low-key chemistry here.
Murray's subtle sarcasm and overall cynicism are downplayed but in force here, as he employs facial expressions that speak louder than words could. He fully shows how he can be a hilarious comic presence and a fascinating, real dramatic presence and merge the two in one project, proving nothing but great range and ability on his behalf.
Johansson, who was only eighteen during the time this was being filmed, bears mannerisms and a self-assured aura that would be more expected from someone ten years older than her. Such lofty material is presented and she handles the task of not being too theatrical or obvious very well, and it's a performance that requires both actors to place a reliance on their body language and facial expressions.
This was by no means an easy role for Johansson, yet she breaks out with it and becomes a force all her own. Lost in Translation details a difficult time in a person's life and, in the process, doesn't sugarcoat it. The lack of human connection and the feelings of hopelessness, regardless of short-term or long-term, are debilitating to a person, and this film goes on to show to reiterate my idea about life: if we didn't have at least one of these things - a passion, a good relationship with family, or close friends and people to connect with - we would jump out a window.
Directed by: Sofia Coppola. We follow two people in different stages of life. Their bond grows so strong over the course of this movie, that it feels so real. For me, this movie hit all the right marks - sentiment, melancholy, sadness, happiness, anger, loneliness and above all, deep, deep love for each other that is more than a sensual hunger. Charlotte and Bob couldn't have been more perfectly cast - Scarlett Johansson and Bill Murray, respectively - and Sofia Coppola knew that well; she wouldn't have made the movie if Bill refused to take the role.
But he accepted and what we ended up with is a nihilistic, romantic story that goes beyond the dialogue. We know the feelings of each character before they meet each other, and it's not hard to relate to them. Are you the young person, striving to be something bigger than yourself but not quite sure exactly what? Or are you the person that's a little fed up with life, slowly and quietly lives it out, seemingly numb to the good things in life?
The brilliant mix of these two types of characters couldn't be expressed better than in a foreign place like Tokyo: lovely, beautiful but confusing and belittling, the perfect background for someone to have their heart on their sleeve.
But only those that understand each other - both literally and figuratively - can read each others' heart. Bob and Charlotte connect quickly when they find out they have a lot in common, such as insomnia because of the jet-lag, a soulmate that seems to have lost their initial soul and their interest in each other, and they decide to explore the city together.
Bob is a mentor, while Charlotte is a playmate that lets him appreciate life more than he did before. Their happiness won't last longer than a few days, because then they'll have to go their own ways again, but with some marvelous experiences to make up for it. This looms over them. What I might find most interesting about this film is that Bob Harris sounds a lot like Bill Murray and Charlotte is close to Scarlett - the line between acting and real life has, to me, faded so much that it's hard to tell the distinction.
Bill Murray used to be a huge hit-actor and hadn't seen as much success around the time this movie was made. Bob Harris is Bill Murray. Charlotte's character is based on Sofia Coppola herself, and Scarlett, despite her young age, moves her character forward with so much grace and relatibility - for me, as a young person - that it's not hard to see why she became as big of an idol as she is these days.
To me, this is my staple movie, the movie that makes me feel everything I want to feel and shows me everything I want to see. I can hardly put it into words. Needless to say, a movie worth watching. A lot of my friends told me the movie was dull and had no story line. However, i thought it was a moving story about love and relationships and life in general. I believe if people watched the movie they'd like it more for the subtle brilliance that prevails. The roles played by Bill Murray and Scarlett Johansson performed flawlessly with enough emotion as necessary.
It will now be one of my favourite films though not action - packed it is a masterpiece of emotion and through the use of clever cinematography enthrals the viewer. I would suggest this is more of a chick flick though I'm sure most men will understand the true emotion of the film.
LtnRipley 29 November Lets go to japan and hang around in different parts of the hotel. Then lets go out to the street and see, "whoa, this is different from America"! People don't talk English! Signs are not in English! People sing karaoke! People eat different food than in America! OK, lets go back to hotel room, and talk about our relationship that has lasted two days, and if we should go back to America.
After all, that's where the family is. I decided, we are going back to America, it is a better place after all. This trip to japan was very educating, the view from my hotel room was great. I was appalled that Sofia Coppola won an Oscar for her drab screenplay. First of all, the characters were unsympathetic and out of touch with the world. An actor receiving 2 million for a few days work and a directionless Yale student tagging with her photographer boyfriend.
I doubt many of us here have the privilege to be bored in the most expensive hotel in Japan. The stylized ennui of the whole pic was so pretentious. Scarletts panty shots and staring at the window didn't elevate or convey any emotion at all. I really had to force myself awake at times when the whole film veered into an extended travelogue or a home movie.
I kept on waiting for the nonexistent plot to arrive. Finally, the 'crocodile dundee' style racism showing the Japanese as one dimensional morons or subservient. The prostitute scene was a cheap play for laughs.
Much like, most of the Japanese scenes which were the 'look at the wacky Japanese' variety with the help of Bill's snide comments. If Sofia wanted to portray loneliness and isolation, she could have easily done it without the racist undertone.
A film about isolation, loneliness, romance and unrequited love. Not for everyone due to its quietness, minimalism and sparse narrative. This is an on-going theme and style of Sofia Coppola. It doesn't follow the usual Hollywood conventions for a romantic style film. There's is some comic relief due to typical Bill Murray's dry humour. I love the combination of the two cultures being based in a hotel in Tokyo. What happens when one arrives in Tokyo after an extremely from a long flight?
Either one goes to sleep, or one ends up with a severe case of insomnia, as Bob Harris, finds out to be the case. What does one do when one is trying to catch up on some badly needed sleep in a foreign hotel? One watches television. But what if the language is Japanese and one can't comprehend a word of what is being said? One heads for the bar, if it is open, and proceed to get drunk and get into trouble Such is the premise of Ms Coppola's incredible incisive film.
It's curious how she has gotten inside the character of Bob Harris. She knows him very well. It is to her credit that she has balanced all the right elements to come out with this magnificent film that has a look of someone with a lot of film experience behind. I was not a fan of her previous film, The Virgin Suicides, but this one has its heart in the right place.
She really knows what she is doing, which, for a second time film director to have achieved, it's a lot. Ms Coppola has been able to get magnificent performances from her two principal actors: Bill Murray and Scarlet Johansson. Bill Murray, above all is perfection personified. His take on this has been Hollywood actor, Bob Harris, is so true that it hurts.
There are layers upon layers that Mr. Murray brings to his portrayal of this lonely man who has seen better days, and now has to go make commercials in Japan to make a living since probably no one at home remembers him. On the other hand, the Charlotte of Scarlet Johansson is a triumph as well for this young actress.
She exudes such an intelligence that one might think she is a much older person than what she really is. She is in a hopeless situation married to a photographer who obviously is in his own little world to realize what a precious gift he has in his wife.
It is inevitable that these two lost souls are drawn into each other in this strange place where they don't seem to even fit. The film is a bittersweet comedy. Bob and Charlotte communicate in ways they don't seem to be able to talk with their own spouses. The attraction is mutual. One can see they belong together despite the age difference.
At the end there is a hint that maybe they will be united after all. Ms Coppola's view on the culture differences are hysterical. Her take on the Japanese may not be politically correct, but it makes a lot of sense in the context of having the tables turned on the Americans that are in that country making millions, and never taking a moment to try to understand what is in front of them.
It is only Charlotte who shows a spirit of adventure in enjoying the magnificent scenery of Kyoto and other religious sites in Tokyo. Great things are in store for the viewer in future films directed by Sofia Coppola, I am sure. Yes, the cinematography is gorgeous.
And yes, the soundtrack's great, if not always appropriate. But sadly many otherwise intelligent people have been fooled by this surface gloss into thinking this is a piece of high cinematic art. It isn't. What it is is a mean-spirited little film about two spoiled Americans who, given an opportunity many of us would dream of - a week's free stay at a luxury hotel in one of the world's most exciting cities - do nothing but mope around moaning about how bored they are and how they can't sleep, occasionally breaking off to laugh at those crazy Japanese.
The old "flied lice" jokes may have been funny when Benny Hill was doing them thirty years ago, but surely things have moved on? As well as an unpleasant vein of racism, there is also a seam of snobbery running throughout. Is Charlotte - lying around in her hotel room, living off her more proactive, more talented husband - really any better than B-movie starlet Kelly? The latter may be an airhead, but she has her own career and is enjoying the opportunity life has granted her while it lasts.
And is Bob - who has travelled across the globe, missing his son's birthday in the process, just to prostitute his talent by filming a whisky commercial - in any way superior to the Japanese director and TV presenter he sneers at?
Coppola clearly thinks so. Ah yes, Bill Murray. How ironic that an actor whose reputation was founded on the film Groundhog Day should spend the following years endlessly playing the same character with diminishing returns, fooling critics into thinking he's more than a one-trick pony with that hangdog expression.
Which brings me to irony no. During the video shoot scene, Murray's character pokes fun at Roger Moore, as if to say that Murray himself is the vastly more versatile actor. He isn't. The film's one saving grace is Johansen who, despite the blankness of her character, lights up the screen every time she appears and has you looking at your watch when she leaves.
A stunning performance, wasted on such otherwise vapid material. A film which promises an intellectual fix but ultimately says nothing. That is how I perceive lost in Translation, a cold, time stopping, gut wrenching moment in time where it is just between you and the water. But Lost In Translation itself wasn't cold or gut wrenching, it was an experience like no other in cinema, the movie hardly seems to move along; as if stopped in time and allows the 2 main characters to flow freely in this strange, unknown even daunting The Unisex - Lost In Translation (CD) which is Tokyo.
What makes this film work The Unisex - Lost In Translation (CD) well? It requires nothing but Bill Murray Bob Harris and Scarlett Johansson Charlotte something to find a relationship based of each other's loneliness and subsequent choices in life that lead them to a particular moment in life which is ending up in Tokyo to fulfill a certain obligation, neither of which are joyful in doing so.
The age difference between the two means there's no silly love chemistry, neurotic breakups or overly-dramatic events occurring throughout the film, which some have found to be particularly boring. But certainly not me, these two characters alone are able to support this film the whole way through with just a bond between each other than thats why Lost in Translation is like no other film.
These two bond so well together throughout the film with experiences so down to earth yet in turn so uplifting when these two characters experience these to occasions together.
Charlotte and Bob are both complete strangers in Tokyo, thats what makes the relationship with them work so well, the essence of surprise when not knowing another individual makes the movie that much more better to watch, from one scene to the next rather than learning about Bob or Charlotte we view them learning about one another from their perspectives.
By the end of the film both performances from Johansson and Murray were equaled and satisfying, both showing the glory this film set out to have, and to that, hats off to Sofia Coppola for making such a wonderful film that was driven by effortless timing and character driven emotion. Can't Recommend any higher. It deserves to win lots of Oscars, especially for the wonderful Bill Murray. Go see it now. So filmic subtlety is not lost on us. We drove for an hour through horrendous traffic to see this highly-rated film, yet this is the only movie in 25 years of adult moviegoing that we have ever walked out of.
It reminded me of the worst excesses of 60's French New Wave. Long stretches of people staring. Long stretches of silence and monosyllables. More long stretches of loud noise and incomprehensible voices. Short cut-in scenes that advanced the story what there was of it and characters not a bit. Big deal. Can I care about two people who are supposed to be intelligent, yet they can't think of a thing to do to amuse themselves in one of the world's major cities? Can I believe in a young woman who's supposed to be a recent philosophy graduate of Yale, who can't think of anything to do with her time but stare out the window of her expensive hotel?
Can I believe this same young woman came to Tokyo with her working husband, yet seems totally at a loss when he actually The Unisex - Lost In Translation (CD) to work? Can I believe that someone who is interested in philosophy so much that she majors in it in college can only be happy bar hopping, dancing, smoking weed, and singing karaoke? Can I believe that a faded Hollywood star who is being paid 2 million dollars for a commercial would come to Tokyo absolutely alone, without even an aide of any kind?
And most of all, can I call a film that does nothing more than follow these two hapless and uninteresting people around for several days without a trace of drama or art profound? I think not. Don't waste your money. This is one of those rare instances when I can only conclude that there is some vast critical conspiracy to hoodwink the American public. Just Like Honey track Alone in Kyoto track Fantino track 3. Sometimes track Tommib track 4.
The Unisex - Lost In Translation (CD) Young track 7. United States Kevin Shields. Death in Vegas. Kaze wo Atsumete. Happy End. Manning Jr. Sometimes producer and mixer: K.
My Bloody Valentine. Are You Awake?
2 Million & Rising - Influx UK - 2 Million & Rising (File, Album, MP3), Thats A No No - Jeannie C. Riley - Country Gold (Vinyl, LP), Velvet Morning, So Much Dub - Revolutionary Sounds* - Dub Out Her Blouse & Skirt - Vol. 1 (Vinyl, LP, Album), My Way (Rick Garcias Original) - Subculture - My Way (The French Mixes) (Vinyl), Ameno, Rocket - Def Leppard - Hysteria (CD, Album), Fool For Bright Lights - Climax Blues Band - Got It Right - The Greatest Hits of the Climax Blues Ba, Heavens On Fire (Rough Mix 05-16-84) - Kiss - While The City Sleeps (CD)