7.8/10
344,686
1,867 user 268 critic

Lost in Translation (2003)

R | | Drama | 3 October 2003 (USA)
A faded movie star and a neglected young woman form an unlikely bond after crossing paths in Tokyo.

Director:

Writer:

Popularity
1,077 ( 9)

Watch Now

From $2.99 (SD) on Amazon Video

ON DISC
Won 1 Oscar. Another 97 wins & 126 nominations. See more awards »

Videos

Photos

Learn more

People who liked this also liked... 

Talk-Show
    1 2 3 4 5 6 7 8 9 10 8.5/10 X  

The renowned former chief analyst at the Foreign Ministry of Japan, Masaru Sato gives audiences a special lecture about how to make you intelligent with reading electric books with Kindle White Paper.

Director: Masaru Sato
Stars: Friedrich Engels, Karl Marx, Ryota Nakanishi
Short | Drama | Romance
    1 2 3 4 5 6 7 8 9 10 8.8/10 X  

The process of how a fiance gets to the seaside where his bride is located in order to express and relive their dramatic encountering in a cinematic way.

Director: Ryota Nakanishi
Stars: Kkobbi Kim, Ryota Nakanishi
Documentary
    1 2 3 4 5 6 7 8 9 10 8.6/10 X  

12 thinkers gathered together to discuss the political issues in Japan, such as reuse of nuclear plants, accepting right of collective self defense, TPP and the secrecy law.

Director: Yasumi Iwakami
Stars: Kazuyuki Azusawa, Satoshi Daigo, Yôichi Iha
Short | Talk-Show
    1 2 3 4 5 6 7 8 9 10 8.6/10 X  

Dismantling Auteur Theory: Tsai Mingliang and Lee Kangsheng (2008) is a film featuring promotional activities of Tsai Mingliang and Lee Kangsheng for their film ''Help Me, Eros (2007).''

Director: Ryota Nakanishi
Stars: Kang-sheng Lee, Ming-liang Tsai, Jiahan Wu
Talk-Show
    1 2 3 4 5 6 7 8 9 10 8.3/10 X  

A documentary featuring Che Guevara's revolutionary legacy and the success of the Cuban Social Welfare system.

Director: Kiyoshi Yasuda
Stars: Fidel Castro, Aleida Guevara, Ernesto 'Che' Guevara
Rakugo eiga (2012)
Comedy | Crime | Drama
    1 2 3 4 5 6 7 8 9 10 8.3/10 X  

Rakugo Eiga is a film featuring Japan's traditional art, 'rakugo' as its theme. It is a modern adaptation of three rakugo tales presented in three short films.

Directors: Mikihiro Endô, Issey Matsui, and 1 more credit »
Stars: Tsubasa Honda, Syunputei Ichinosuke, Sanshirô Katsura
Documentary
    1 2 3 4 5 6 7 8 9 10 8.7/10 X  

A documentary leading Japanese voters and citizens to unite against Abe regime with minimum requirement of 25% voting rate.

Director: Kazuhide Uekusa
Stars: Kazuyuki Azusawa, Satsuki Eda, Katsumasa Haranaka
The Blue Sky (2012)
Short | Crime | History
    1 2 3 4 5 6 7 8 9 10 8.5/10 X  

The Blue Sky is the first Asian digit-3D student film featuring individual tragedy between the Chinese pilot Zhengliang, Xu and the young Japanese pilot Ryuta, Watanabe in The Second Sino-Japanese War, 'brutality of war' as its theme.

Director: Shih-Han Tsao
Stars: Xiangling Lin, Qiufen Qin, Li-Yun Tsai
Drama | History | Music
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

German soldiers are transported to a prisoner-of-war camp in Japan after the First World War.

Director: Masanobu Deme
Stars: Ken Matsudaira, Bruno Ganz, Hiroshi Abe
Documentary | Talk-Show
    1 2 3 4 5 6 7 8 9 10 8.9/10 X  

This documentary shows that how Japanese citizens determined to fight against Abe regime's War and the Law of Jungle policy. Instead more than eight hundreds participants stated that opposition to Abe regime.

Director: Kazuhide Uekusa
Stars: Nobuaki Futami, Katsumasa Haranaka, Yukio Hatoyama
Documentary
    1 2 3 4 5 6 7 8 9 10 8.6/10 X  

The renowned conspiracy theorists Benjamin Fulford, Richard Koshimizu give audiences a special lecture about various conspiracy theories.

Directors: Benjamin Fulford, Richard Koshimizu
Stars: George Bush, George W. Bush, Benjamin Fulford
Furusato-Time (TV Series 2015)
Documentary | Adventure | Biography
    1 2 3 4 5 6 7 8 9 10 8.8/10 X  

Furusato-Time is a sightseeing TV program of the major cable television company J:COM. And it's co-produced by Kyodo-TV.

Stars: Shingo Kazami, Matirog, Ryota Nakanishi
Edit

Cast

Cast overview, first billed only:
...
...
Akiko Takeshita ...
Kazuyoshi Minamimagoe ...
Press Agent
Kazuko Shibata ...
Press Agent
Take ...
Press Agent
Ryuichiro Baba ...
Concierge
Akira Yamaguchi ...
Bellboy
...
Jazz Singer
...
Sausalito Piano (as Francois du Bois)
Tim Leffman ...
Sausalito Guitar
...
American Businessman #1
Richard Allen ...
American Businessman #2
...
Diamond Yukai ...
Commercial Director (as Yutaka Tadokoro)
Edit

Storyline

Middle-aged American movie star Bob Harris is in Tokyo to film a personal endorsement Suntory whiskey ad solely for the Japanese market. He is past his movie star prime, but his name and image still have enough cachet for him to have gotten this lucrative $2 million job. He has an unsatisfying home life where his wife Lydia follows him wherever he goes - in the form of messages and faxes - for him to deal with the minutiae of their everyday lives, while she stays at home to look after their kids. Staying at the same upscale hotel is fellow American, twenty-something recent Yale Philosophy graduate Charlotte, her husband John, an entertainment still photographer, who is on assignment in Japan. As such, she is largely left to her own devices in the city, especially when his job takes him out of Tokyo. Both Bob and Charlotte are feeling lost by their current situations, which are not helped by the cultural barriers they feel in Tokyo, those cultural barriers extending far beyond just not... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

Everyone wants to be found. See more »

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for some sexual content | See all certifications »

Parents Guide:

 »
Edit

Details

Country:

|

Language:

| | |

Release Date:

3 October 2003 (USA)  »

Also Known As:

Perdidos en Tokio  »

Filming Locations:

 »

Box Office

Budget:

$4,000,000 (estimated)

Opening Weekend:

$167,255 (Poland) (22 February 2003)

Gross:

$44,585,453 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
Edit

Did You Know?

Trivia

Sofia Coppola wasn't sure if Bill Murray was actually going to show up for the film, going by only, according to Coppola, a verbal confirmation. It was on the first day of filming, that Murray showed up. See more »

Goofs

At the end of the scene where Charlotte first sees Bob in the elevator, she does not actually exit the elevator. At the far right side of the screen, her purse is visible, revealing that she is just standing there. See more »

Quotes

[first lines]
Ms. Kawasaki: Welcome to Tokyo.
Bob: Thank you very much.
Ms. Kawasaki: My name is Kawasaki. Nice to meet you.
Bob: I've heard of you. Thank you.
See more »

Crazy Credits

At the end of the closing credits, Hiromix (Hiromi Toshikawa), seen throughout most of the party sequence, waves to the camera. See more »

Connections

References In the Mood for Love (2000) See more »

Soundtracks

The State We're In
(2002)
Written by Tom Rowlands and Ed Simons
Performed by The Chemical Brothers
Courtesy of Virgin/Astralwerks Records
Under license from EMI Film & TV Music
See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
Breathtaking and beautiful - improves on second viewing

I was just like every other curious American filmgoer a few months ago when I went and saw Lost in Translation for the first time. That's right, I wanted to know what in the hell was so great about the movie that critics were calling possibly the best of the year and a modern masterpiece. I saw Translation for the first time and liked it, but didn't really know what they saw in the movie that was so beyond-belief spectacular. But alas, I believe that every movie deserves a second chance (i.e. - the miracle of hating Moulin Rouge on round one and having it shoot near the top of my favorites of all time a year later), so just recently I sat down and experienced director Sophia Coppola's Lost In Translation again.

Lost in Translation tells the story of Bob Harris (Bill Murray in a role tailor-made, if not even Heaven-sent for him), an American movie star that comes to Tokyo to film a whiskey commerical for which he will be paid 2 million bucks. Staying in the same Tokyo hotel is Charlotte (Scarlett Johanssen, radiant and mature at only 18), a newlywed tagging along with her rock photographer husband, John (a typically awkward Giovanni Ribisi). Along the way, Charlotte and Bob run into each other and begin a 'brief encounter' that profoundly affects them both.

When the movie hits you right, it's a pure pleasure from its unassuming start (a beautifully lit shot up Johanssen's underwear-clothed behind) to its ambiguous but meaningful ending. It begins as a comedy of culture clash, Harris sarcastic and confused at the Japanese when entering his hotel, and even more befuddled in a hilarious scene where he shoots the whiskey commerical (and one later during a photo shoot). Coppola delivers Bob into her movie with the impression that it'll be all about him (he has plenty of great scenes, even at just the beginning), but Charlotte enters the story, and we're never quite the same. Scarlett Johanssen plays Charlotte with just the right amount of emotion that her initially morose and soul-searching character doesn't seem silly. At one point, she tearfully admits over the phone, "I don't know who I married." This may come off as silly, but consider her position: far away from home, newly married, in a big intimidating city, and her husband is away on a photo shoot. Bob, on the other hand, seems to have it made, but Murray lets a current of loneliness run across that memorable face that seems to hint at something more. He gets comical faxes from his wife about bookshelves and carpet samples, but he gives off the impression that he's come to the point where he doesn't even care anymore. Bob is certainly alone for a time in Tokyo, but Murray gives off the impression that things at home aren't too hot either.

For the first third of the movie, director Coppola displays her first brave choice in filmmaking by keeping Bob and Charlotte apart. During this time, the smooth, languid pace of the film falls into place, and by languid I don't mean 'boring.' Upon my first viewing of Translation, I wasn't convinced of Coppola's choice to keep the movie so predominantly low-key, but I've realized that there's a reason for it. The movie sustains this amazing vibe that doesn't stunt its progress, but propels it with a driving fluidity. A few times, though, Bob and Charlotte do see each other without officially meeting. One time in particular occurs in a crowded elevator - the two glance at each other, faintly smile, and possibility is born. The first section of the film doesn't just serve to show its two characters completely apart - it makes you think of how many life-changing connections you've missed in the past by just being passive and solitary.

Coppola successfully juggles Bob and Charlotte apart, but when they do meet, it's pure magic. They begin voyages out into the hustle and bustle of Tokyo, and the film almost takes on a perspective that differs from its earlier view. Before, we saw Bob Harris and Charlotte, respectively, at their most private and vulnerable. While out on the town, the film seems to sit back and just let them have fun. Thank God, for Bill Murray's rousing rendition of Elvis Costello's "(What's So Funny 'Bout) Peace, Love, and Understanding" is a blast. During this time, it seems that Bob and Charlotte have forgotten their insomnia and loneliness, but it's not gone forever. Even during their night on the town, we see moments where they sit silently, pensive and confused. The movie is a comedy in some sense, but it escalates into a pervading tragic feel. At one point, Charlotte says to Bob: "Let's never come back here again, because it will never be as much fun." I was struck deeply by this because, well, they had fun, but only in the sense of putting off more loneliness and desperation.

The movie takes a while to truly glean out the deep-seated motivations of both of its characters, but they become fully-realized in a marvelous scene where Bob and Charlottelay fully-clothed in bed together. Here, they handle the 'big' questions in life, and not "Where did you go to college?" or "What did you want to be when you were little?" but "What is my purpose?" and "Does marraige get easier?" I was amazed at the honesty of the character's responses. Bob relates to Charlotte the experience of having children and the ongoing struggles of marraige, but a tinge of fear and apprehension runs through his speech. Charlotte hasn't really figured things out for herslef yet - she says she's tried just about everything but hasn't found that niche. Coppola's screenplay takes these two separate beings, far apart in age and experiences, and makes a profound statement - both are in the same exact emotional limbo. Charlotte is confused and worried, but Bob is regretful and washed-up. In a way, these two are some form of deeply odd soul-mates. That is the heart and soul of Coppola's amazing work.

I couldn't end this review without mentioning another star behind the scenes of the movie that is nearly as effective to the film as Director/Screenwriter Sophia Coppola. That is cinematographer Lance Acord, who should just start writing his Oscar acceptance speech now. He has worked on Coppola's husband's (Adaptation, Being John Malkovich director Spike Jonze) films before, but this is his finest, most beautiful work yet. He captures Japan, and the film's characters, with such a soft-but-colorfully-abstract flare that it's nearly inexplicable. I often wondered why, beyond the fact that they have so much to think about, Bob and Charlotte (especially her) are seen staring out windows so much. If they see Tokyo with the same awe-inspiring glow that the film does, they have no better reason.

Perhaps the movie didn't sit as well with me the first time because I kept attempting to figure out what the movie was. It has great comedic flair with Murray's wonderful work, but it's also perhaps one of the saddest and most moving films I've seen in a long time. It's some form of a romance, too, but it's not about when they'll kiss or when they'll hit the sheets (one kiss on the cheek becomes unbearably awkward). It also has that Affair to Remember vibe too, where the journey of two souls that find comfort will eventually have to come to an end. Its end, though, defies classification, as does the rest of the film. Many times during the film's quaint, quietly moving finale, I expected lush music to start playing to underscore the escalating sadness of the film. It doesn't. Coppola simply lets her two amazing leads do the work. When the film does arrive at its final, ambiguous moment, it all just seems perfect. The catchy Japan-pop soundtrack that runs brilliantly throughout the film begins to play, and I find myself with a huge regret: that I won't be able to savor the subtle chemistry of Bob and Charlotte, and that a flat-out masterpiece in American film is at its end.


875 of 1,052 people found this review helpful.  Was this review helpful to you?

Contribute to This Page

Create a character page for:
?