Analysis
Over the course of the film, several things get "lost in translation". Bob, a Japanese director (Yutaka Tadokoro), and an interpreter (Takeshita) are on a set, filming a commercial for Suntory whisky (specifically, 17-year old Hibiki). In several exchanges, the director gives lengthy, impassioned directives in Japanese. These are invariably followed by brief, incomplete translations from the interpreter.
- Director : The translation is very important, O.K.? The translation.
- Interpreter : Yes, of course. I understand.
- Director : Mr. Bob. You are sitting quietly in your study. And then there is a bottle of Suntory whisky on top of the table. You understand, right? With wholehearted feeling, slowly, look at the camera, tenderly, and as if you are meeting old friends, say the words. As if you are Bogie in Casablanca, saying, "Here's looking at you, kid,"—Suntory time!
- Interpreter : He wants you to turn, look in camera. O.K.?
- Bob: ...Is that all he said?
In addition to the meaning and detail lost in the translation of the director's words, the two central characters in the film—Bob and Charlotte—are also lost in other ways. On a basic level, they are lost in the alien Japanese culture. But in addition, they are lost in their own lives and relationships, a feeling, amplified by their displaced location, that leads to their blossoming friendship and growing connection with one another.
By her own admission, Coppola wanted to create a romantic movie about two characters that have a moment of connection. The story's timeline was intentionally shortened to emphasize this moment. Additionally, Coppola has said that since "there's not much happening in the story besides ", the filmmakers tried to keep an ongoing tension.
The academic Marco Abel lists Lost in Translation as one of many films that belong to the category of "postromance" cinema, which he says offers a negative perspective of love, sex, romance, and dating. According to Abel, the characters in such films reject the idealized notion of lifelong monogamy.
The author and filmmaker Anita Schillhorn van Veen interprets the film as a criticism of modernity, in which Tokyo is a contemporary "floating world" of fleeting pleasures that are too alienating and amoral to facilitate meaningful relationships.
Read more about this topic: Lost In Translation (film)
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