ONE OF THE GREATEST FILMS OF THE YEAR (POSSIBLY EVER)

Rating: Null/10 (27 September 2003)

Scarlett Johannsen (Charlotte) looks up through a transparent white umbrella into a metropolis of radiant lights and towering skyscrapers. She is one of the many people looking for answers in a world where everything, no matter where you are, seems to be lost in translation. It just so happens that her presence in Sofia Coppola's sophomore debut, Lost in Translation, is genuinely the best film this year and a brilliant work of cinematic art. Accompanying Johannsen's performance is the versatile Bill Murray, also revealing one of the greatest acting performances this year, his best to date and a more than worthy Academy Award contender. There are many elements that exist in this film which make it the work of genius that it is: the actors as earlier discussed, Tokyo itself, and lastly Ms. Coppolas genius camerawork. Every frame in this film is a piece of art; from the brilliant décor of the city to the Japanese countryside (a wonderful scene details Murray playing golf in the background of Mt. Fiji), and the Kyoto monasteries where Johansson realizes the path she must take. Binaries to the aforementioned characters are Johanssen's rock photographer husband (Giovanni Ribisi) and a blonde actress (Anna Farris) who has little to do with the film, merely acting as a sub-plot to the Johanssen/Ribisi relationship. Stylistically, seasoned cinematographer Lance Acord (Adaptation, Buffalo 66, Being John Malkovich) has engineered frames so magnificently that one would physically feel like taking a cab ride through midtown Tokyo with Murray or chatting over drinks with Johanssen. Lost in Translation, a film so unconventional that every time you think the couple might escape their platonic chains and enter a realm of sensual relations.you may be surprised. SPOILERS**** Another reason this film may just be one of the greatest this year (possibly of all time?) Are the metaphors which are raised (ingeniously through the camera mind-you) in the last sequence. Murray's character (Bill Harris) is taking his last cab ride to the airport and the camera encompasses the vast surroundings, proposing a general statement of humanity: You never know what things will come about to change your life forever, sometimes occuring in the most unlikely of places.