Mostrar mensagens com a etiqueta Sofia Ford Coppola. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Sofia Ford Coppola. Mostrar todas as mensagens
“So much has been said about the girls over the years. But we have never found an answer. It didn't matter in the end how old they had been, or that they were girls... but only that we had loved them... and that they hadn't heard us calling... still do not hear us calling them from out of those rooms... where they went to be alone for all time... and where we will never find the pieces to put them back together.”
I'm uncertain why the daughter of a Hollywood icon would select as her first director effort a nearly unfilmable book of linguistic time bombs and nearly unspeakable tragedy. Jeffrey Eugenides's book The Virgin Suicides is one of the underappreciated gems of the 1990s and surely Sophia Coppola must have known that the critics would have it out for anything she did. So Coppola, daughter of Francis Ford, decided to do something unexpected: She made a gem of a movie that's easy to like and complex enough to savour.
Taking place "25 years ago" in "Michigan," The Virgin Suicides tells the story of a group of teenage boys and the Lisbon sisters, whose suicides changed them forever. The book is told with a rather unique choral narrator (the entire story is in the first person plural) which makes it clear that the focus of the story is not the Lisbons, but the boys and their attempts to restructure the events of what must have been their final summer of innocence. Similarly, the film features extensive voice-overs, culled from the book, coming from an unidentified member (or members) of the gang. You might wonder why you're never able to distinguish between any of the four or five or six males who wander through the story, or why at least several of the Lisbon girls also blend together, but rest assured it's intentional. The Virgin Suicides is very much about a baffled collective.
The movie begins with the first suicide attempt of the youngest Lisbon girl. When the doctor examining her asks why should would try to kill herself she offers the simple response, "Obviously, Doctor, you have never been a thirteen year old girl." The book and film are both really about men and how incapable we are of understand what it's like to be a thirteen year old girl or a thirty year old woman or really anything in between. And what's even more frustrating is the fact that women seem to understand men so devastatingly well (a trait perfectly personified in Kirsten Dunst's portrayal of middle sister Lux). The narrative such as it is marches inexorably through the gradual awakening of the narrators and the inevitable realization that they never knew anything.
Coppola, who also adapted the screenplay, makes decent use of the book's two metaphorical subplots - an outbreak of Dutch Elm Disease and a cemetery worker's strike. The rot of suburban life lies at the core of this story and Coppola wisely never overplays her hand. She loves using mythic imagery, generally revolving around Dunst, an actress beginning to produce the kind of resume that speaks of longevity. Coppola's background in costuming is also evident, displaying the decadence and tackiness of the observing characters, contrasted with the spare Puritainism of the Lisbons.
Coppola gets mostly good performances from the young generation of her cast. As the only two characters to get individual notice, Kirsten Dunst and Josh Hartnett do excellent work. She's the animal core of the film and he perfectly captures the perplexed, corrupted purity of the male side of the story. Playing against type, James Woods is excellent as the Lisbon's introverted henpecked father and Kathleen Turner is effectively scary as their domineering mother.The Virgin Suicides has perhaps too many moments of whimsy, where it seems too devoted to its source, even when the material doesn't translate properly. But still, it's the moments of magic - the Lisbon girls prom, an eerie family party, and phone conversation spoken only with records - that stand out… 8/10
I'm uncertain why the daughter of a Hollywood icon would select as her first director effort a nearly unfilmable book of linguistic time bombs and nearly unspeakable tragedy. Jeffrey Eugenides's book The Virgin Suicides is one of the underappreciated gems of the 1990s and surely Sophia Coppola must have known that the critics would have it out for anything she did. So Coppola, daughter of Francis Ford, decided to do something unexpected: She made a gem of a movie that's easy to like and complex enough to savour.
Taking place "25 years ago" in "Michigan," The Virgin Suicides tells the story of a group of teenage boys and the Lisbon sisters, whose suicides changed them forever. The book is told with a rather unique choral narrator (the entire story is in the first person plural) which makes it clear that the focus of the story is not the Lisbons, but the boys and their attempts to restructure the events of what must have been their final summer of innocence. Similarly, the film features extensive voice-overs, culled from the book, coming from an unidentified member (or members) of the gang. You might wonder why you're never able to distinguish between any of the four or five or six males who wander through the story, or why at least several of the Lisbon girls also blend together, but rest assured it's intentional. The Virgin Suicides is very much about a baffled collective.
The movie begins with the first suicide attempt of the youngest Lisbon girl. When the doctor examining her asks why should would try to kill herself she offers the simple response, "Obviously, Doctor, you have never been a thirteen year old girl." The book and film are both really about men and how incapable we are of understand what it's like to be a thirteen year old girl or a thirty year old woman or really anything in between. And what's even more frustrating is the fact that women seem to understand men so devastatingly well (a trait perfectly personified in Kirsten Dunst's portrayal of middle sister Lux). The narrative such as it is marches inexorably through the gradual awakening of the narrators and the inevitable realization that they never knew anything.
Coppola, who also adapted the screenplay, makes decent use of the book's two metaphorical subplots - an outbreak of Dutch Elm Disease and a cemetery worker's strike. The rot of suburban life lies at the core of this story and Coppola wisely never overplays her hand. She loves using mythic imagery, generally revolving around Dunst, an actress beginning to produce the kind of resume that speaks of longevity. Coppola's background in costuming is also evident, displaying the decadence and tackiness of the observing characters, contrasted with the spare Puritainism of the Lisbons.
Coppola gets mostly good performances from the young generation of her cast. As the only two characters to get individual notice, Kirsten Dunst and Josh Hartnett do excellent work. She's the animal core of the film and he perfectly captures the perplexed, corrupted purity of the male side of the story. Playing against type, James Woods is excellent as the Lisbon's introverted henpecked father and Kathleen Turner is effectively scary as their domineering mother.The Virgin Suicides has perhaps too many moments of whimsy, where it seems too devoted to its source, even when the material doesn't translate properly. But still, it's the moments of magic - the Lisbon girls prom, an eerie family party, and phone conversation spoken only with records - that stand out… 8/10
“I'm gonna make him an offer he can't refuse.”
The Godfather is a 1972 crime film based on the novel of the same name by Mario Puzo and directed by Francis Ford Coppola, with screenplay by Puzo and Coppola. The story spans ten years from late 1945 to 1955 and chronicles the life of the Corleone crime family.
The Godfather was initially ranked as the third greatest film in American cinematic history (behind Citizen Kane and Casablanca) on AFI's 100 Years... 100 Movies list by the American Film Institute. It has now been re-ranked number two under Citizen Kane, with number three being Casablanca. It is also the top movie on Internet Movie Database's Top 250 list, as well as Metacritic's top 100 list and Rotten Tomatoes' all-time best list. Two sequels followed, The Godfather Part II in 1974 and The Godfather Part III in 1990.
The film begins at the wedding of Don Vito Corleone's daughter Connie to Carlo Rizzi in New York City in late summer of 1945. Because "no Sicilian can refuse a request on his daughter's wedding day". Corleone, known to his friends and associates as "Godfather", and Tom Hagen (the Corleone family consigliere, or counselor) are preoccupied with hearing requests from friends and associates. Meanwhile, the Don's youngest son Michael, who has returned from World War II service as a highly decorated war hero, tells his girlfriend Kay Adams anecdotes about his father's criminal life, reassuring her that he is not like his family.
Among the guests at the celebration is the famous singer Johnny Fontane, Corleone's godson, who has come from Hollywood to petition the Godfather's help in landing a movie role that will revitalize his flagging career. Jack Woltz, the head of the studio, will not give Fontane the part, but Don Corleone explains to Johnny: "I'll make him an offer he can't refuse". Hagen is dispatched to California to fix the problem, but Woltz angrily tells him that he will never cast Fontane in the role, for which he is perfect, because Fontane seduced and "ruined" a starlet that Woltz favored. The next morning, Woltz wakes up to find the bloody severed head of his prize stud horse in the bed with him.
Upon Hagen's return, the family meets with heroin dealer Virgil "The Turk" Sollozzo, who is being backed by the rival Tattaglia family. He asks Don Corleone for political and legal protection, as well as financing to start the mass importation and distribution of heroin, but despite the huge amount of money to be made, Corleone refuses, explaining that his political influence would be jeopardized by a move into the narcotics trade. The Don's oldest son, hotheaded Sonny, who had earlier expressed to the Don his support of the family entering into the narcotics trade, breaks rank during the meeting and questions Sollozzo's assurances as to the Corleone Family's investment being guaranteed by the Tattaglia Family. His father, angry at Sonny's dissention in front of a non-family member, later privately rebukes him. Don Corleone then dispatches his aide, Luca Brasi, to infiltrate Sollozzo's organization and report back with information.
Soon after Don Corleone's refusal, he is shot several times in an assassination attempt at a local market. It is not publicly known whether he survived. Meanwhile, Sollozzo and the Tattaglias kill Luca Brasi. Sollozzo then abducts and persuades Tom Hagen to offer Sonny the deal previously offered to his father. Sollozzo reasons that Sonny is more amenable to the deal than was his father, and that with Don Corleone out of the way, Sonny will accept the deal. Enraged, Sonny refuses to consider the deal, promising a war with the Tattaglias and Sollozzo.
Michael, who is considered a "civilian" (not involved in the mob business) by the other mafia families and therefore able to live a more normal life, visits his father in the hospital. He is immediately shocked to find that there are no police officers or Corleone Family men guarding him. Realizing that his father is again being set up to be killed, he calls Sonny with a report, then moves his father to another room. He then goes outside to watch the door. With the help of an overwhelmed Enzo (the baker), who feels indebted to the Don, he bluffs away Sollozzo's men. Police cars soon arrive with the corrupt Captain McCluskey, who breaks Michael's jaw after he insinuates that McCluskey is being paid by Sollozzo to set up his father. Just then, Hagen shows up with "private detectives" licensed to carry guns to protect Don Corleone, and takes Michael home.
Following the attempt on the Don's life at the hospital, Sollozzo and Captain McCluskey, who is acting as Sollozzo's bodyguard, request a meeting with Michael under the auspices of ameliorating their differences. Michael volunteers to kill both men during the meeting, which initially amuses Sonny and the other senior members of the Corleone family, with Sonny admonishing him for reacting too personally and emotionally. However, Michael convinces them that killing Sollozo and McCluskey is in the family's interest ("It's not personal. It's strictly business."). The meeting between Michael and Sollozzo, with McCluskey attending, is arranged at a quiet, local restaurant, as requested by Michael so he will "feel safe". Michael excuses himself to go to the restroom, retrieves a planted revolver, and assassinates Sollozzo and McCluskey with near-point-blank-range shots to the head. To avoid his arrest for the murders, Michael is sent to Sicily while the Corleone family prepares for all-out warfare with the rest of the Five Families, who unite against the Corleones, as well as a general clampdown on the mob by the police and government authorities.
While in Sicily, Michael lives under the protection of Don Tommasino, an old friend of the family. While there, he falls in love with and marries a local girl, Apollonia, who is subsequently murdered during an attempt on Michael's life.
Meanwhile, back in New York, Don Corleone returns home from the hospital and is distraught to learn that Michael was the one who killed Sollozzo and McCluskey. Some months later, in 1948, Sonny severely beats Carlo for brutalizing the expecting Connie, and threatens to kill Carlo the next time he abuses her. The next time Carlo beats her, Sonny drives off alone to fulfill his threat. On the way, he is ambushed and Tommy-gunned to death at the causeway tollbooth.
Instead of seeking revenge for Sonny's killing, Don Corleone meets with the heads of the Five Families to arrange an end to the war. Not only is it draining all of their assets and threatening their survival, but ending the conflict is the only way that Michael can return home safely. Reversing his previous decision, Vito agrees that the Corleone family will provide political protection for Philip Tattaglia's traffic in heroin. At the meeting, Don Corleone realizes that Don Barzini, not Tattaglia, was responsible for the mob war and Sonny's death.
With his safety guaranteed, Michael returns from Sicily. More than a year later, he reunites with his former girlfriend, Kay, telling her that he wants to marry her. With the Don semi-retired, Sonny dead and middle brother Fredo considered incapable of running the family business, Michael is now in charge, and he claims that the family business will soon be completely legitimate.
Clemenza and Tessio, two Corleone Family caporegimes (captains) complain that they are being pushed around by the Barzini Family and ask permission to strike back, but Michael refuses. With his father as consigliere, he plans to move the family operations to Nevada and after that, Clemenza and Tessio may break away to go on their own. Michael further promises that Connie's husband, Carlo, is going to be his right hand in Nevada, while Hagen will be the Family's Las Vegas lawyer.
In Las Vegas Michael is greeted by Fredo in the hotel-casino partly financed by the Corleones, and run by Moe Greene. Michael explains to Johnny Fontane that the Family needs his help in persuading Johnny's friends in show business to sign long-term contracts to appear at the casino. In a meeting with Moe Greene, Michael offers to buy out Greene but is rudely rebuffed. Greene believes the Corleones are weak and that he can secure a better deal from Barzini.
Michael returns home. In a private meeting, Vito explains his expectation that the Family's enemies will attempt to kill Michael by using a trusted associate to arrange a meeting as a pretext for assassination. Shortly afterwards, Don Vito dies of a heart attack while playing with his young grandson in his tomato garden.
During the funeral, Tessio conveys a proposal for a meeting with Barzini, which identifies him as the traitor that Vito was expecting. Michael arranges the murders of Moe Greene, Philip Tattaglia, Emilio Barzini, Anthony Stracci, and Carmine Cuneo, all to take place during the baptism of Connie's and Carlo's second son, for whom he will be godfather. After the baptism, Tessio believes he and Michael are on their way to meet with Barzini. But instead, he is taken away by Willie Cicci and other buttonmen to be killed. Michael confronts Carlo about Sonny's murder and tricks him into admitting his role in setting up the ambush. "Today", Michael tells him, "I settle all Family business." Michael informs Carlo that his punishment is to be excluded from the family business and hands him a plane ticket to exile in Nevada. Carlo gets into a car to go to the airport, and is garroted by Clemenza.
Later, Connie confronts Michael, accusing him of Carlo's murder. Kay questions Michael about Connie's accusation, but he refuses to answer. She insists, and Michael lies, assuring his wife that he had no role in Carlo's death. Kay is relieved by his denial. As the film ends, she watches Clemenza and new caporegime Rocco Lampone pay their respects to Michael, kissing his hand and addressing him as "Don Corleone." The door is closed by new capo Al Neri, as she realizes that Michael has become the new Godfather.
The Godfather is a 1972 crime film based on the novel of the same name by Mario Puzo and directed by Francis Ford Coppola, with screenplay by Puzo and Coppola. The story spans ten years from late 1945 to 1955 and chronicles the life of the Corleone crime family.
The Godfather was initially ranked as the third greatest film in American cinematic history (behind Citizen Kane and Casablanca) on AFI's 100 Years... 100 Movies list by the American Film Institute. It has now been re-ranked number two under Citizen Kane, with number three being Casablanca. It is also the top movie on Internet Movie Database's Top 250 list, as well as Metacritic's top 100 list and Rotten Tomatoes' all-time best list. Two sequels followed, The Godfather Part II in 1974 and The Godfather Part III in 1990.
The film begins at the wedding of Don Vito Corleone's daughter Connie to Carlo Rizzi in New York City in late summer of 1945. Because "no Sicilian can refuse a request on his daughter's wedding day". Corleone, known to his friends and associates as "Godfather", and Tom Hagen (the Corleone family consigliere, or counselor) are preoccupied with hearing requests from friends and associates. Meanwhile, the Don's youngest son Michael, who has returned from World War II service as a highly decorated war hero, tells his girlfriend Kay Adams anecdotes about his father's criminal life, reassuring her that he is not like his family.
Among the guests at the celebration is the famous singer Johnny Fontane, Corleone's godson, who has come from Hollywood to petition the Godfather's help in landing a movie role that will revitalize his flagging career. Jack Woltz, the head of the studio, will not give Fontane the part, but Don Corleone explains to Johnny: "I'll make him an offer he can't refuse". Hagen is dispatched to California to fix the problem, but Woltz angrily tells him that he will never cast Fontane in the role, for which he is perfect, because Fontane seduced and "ruined" a starlet that Woltz favored. The next morning, Woltz wakes up to find the bloody severed head of his prize stud horse in the bed with him.
Upon Hagen's return, the family meets with heroin dealer Virgil "The Turk" Sollozzo, who is being backed by the rival Tattaglia family. He asks Don Corleone for political and legal protection, as well as financing to start the mass importation and distribution of heroin, but despite the huge amount of money to be made, Corleone refuses, explaining that his political influence would be jeopardized by a move into the narcotics trade. The Don's oldest son, hotheaded Sonny, who had earlier expressed to the Don his support of the family entering into the narcotics trade, breaks rank during the meeting and questions Sollozzo's assurances as to the Corleone Family's investment being guaranteed by the Tattaglia Family. His father, angry at Sonny's dissention in front of a non-family member, later privately rebukes him. Don Corleone then dispatches his aide, Luca Brasi, to infiltrate Sollozzo's organization and report back with information.
Soon after Don Corleone's refusal, he is shot several times in an assassination attempt at a local market. It is not publicly known whether he survived. Meanwhile, Sollozzo and the Tattaglias kill Luca Brasi. Sollozzo then abducts and persuades Tom Hagen to offer Sonny the deal previously offered to his father. Sollozzo reasons that Sonny is more amenable to the deal than was his father, and that with Don Corleone out of the way, Sonny will accept the deal. Enraged, Sonny refuses to consider the deal, promising a war with the Tattaglias and Sollozzo.
Michael, who is considered a "civilian" (not involved in the mob business) by the other mafia families and therefore able to live a more normal life, visits his father in the hospital. He is immediately shocked to find that there are no police officers or Corleone Family men guarding him. Realizing that his father is again being set up to be killed, he calls Sonny with a report, then moves his father to another room. He then goes outside to watch the door. With the help of an overwhelmed Enzo (the baker), who feels indebted to the Don, he bluffs away Sollozzo's men. Police cars soon arrive with the corrupt Captain McCluskey, who breaks Michael's jaw after he insinuates that McCluskey is being paid by Sollozzo to set up his father. Just then, Hagen shows up with "private detectives" licensed to carry guns to protect Don Corleone, and takes Michael home.
Following the attempt on the Don's life at the hospital, Sollozzo and Captain McCluskey, who is acting as Sollozzo's bodyguard, request a meeting with Michael under the auspices of ameliorating their differences. Michael volunteers to kill both men during the meeting, which initially amuses Sonny and the other senior members of the Corleone family, with Sonny admonishing him for reacting too personally and emotionally. However, Michael convinces them that killing Sollozo and McCluskey is in the family's interest ("It's not personal. It's strictly business."). The meeting between Michael and Sollozzo, with McCluskey attending, is arranged at a quiet, local restaurant, as requested by Michael so he will "feel safe". Michael excuses himself to go to the restroom, retrieves a planted revolver, and assassinates Sollozzo and McCluskey with near-point-blank-range shots to the head. To avoid his arrest for the murders, Michael is sent to Sicily while the Corleone family prepares for all-out warfare with the rest of the Five Families, who unite against the Corleones, as well as a general clampdown on the mob by the police and government authorities.
While in Sicily, Michael lives under the protection of Don Tommasino, an old friend of the family. While there, he falls in love with and marries a local girl, Apollonia, who is subsequently murdered during an attempt on Michael's life.
Meanwhile, back in New York, Don Corleone returns home from the hospital and is distraught to learn that Michael was the one who killed Sollozzo and McCluskey. Some months later, in 1948, Sonny severely beats Carlo for brutalizing the expecting Connie, and threatens to kill Carlo the next time he abuses her. The next time Carlo beats her, Sonny drives off alone to fulfill his threat. On the way, he is ambushed and Tommy-gunned to death at the causeway tollbooth.
Instead of seeking revenge for Sonny's killing, Don Corleone meets with the heads of the Five Families to arrange an end to the war. Not only is it draining all of their assets and threatening their survival, but ending the conflict is the only way that Michael can return home safely. Reversing his previous decision, Vito agrees that the Corleone family will provide political protection for Philip Tattaglia's traffic in heroin. At the meeting, Don Corleone realizes that Don Barzini, not Tattaglia, was responsible for the mob war and Sonny's death.
With his safety guaranteed, Michael returns from Sicily. More than a year later, he reunites with his former girlfriend, Kay, telling her that he wants to marry her. With the Don semi-retired, Sonny dead and middle brother Fredo considered incapable of running the family business, Michael is now in charge, and he claims that the family business will soon be completely legitimate.
Clemenza and Tessio, two Corleone Family caporegimes (captains) complain that they are being pushed around by the Barzini Family and ask permission to strike back, but Michael refuses. With his father as consigliere, he plans to move the family operations to Nevada and after that, Clemenza and Tessio may break away to go on their own. Michael further promises that Connie's husband, Carlo, is going to be his right hand in Nevada, while Hagen will be the Family's Las Vegas lawyer.
In Las Vegas Michael is greeted by Fredo in the hotel-casino partly financed by the Corleones, and run by Moe Greene. Michael explains to Johnny Fontane that the Family needs his help in persuading Johnny's friends in show business to sign long-term contracts to appear at the casino. In a meeting with Moe Greene, Michael offers to buy out Greene but is rudely rebuffed. Greene believes the Corleones are weak and that he can secure a better deal from Barzini.
Michael returns home. In a private meeting, Vito explains his expectation that the Family's enemies will attempt to kill Michael by using a trusted associate to arrange a meeting as a pretext for assassination. Shortly afterwards, Don Vito dies of a heart attack while playing with his young grandson in his tomato garden.
During the funeral, Tessio conveys a proposal for a meeting with Barzini, which identifies him as the traitor that Vito was expecting. Michael arranges the murders of Moe Greene, Philip Tattaglia, Emilio Barzini, Anthony Stracci, and Carmine Cuneo, all to take place during the baptism of Connie's and Carlo's second son, for whom he will be godfather. After the baptism, Tessio believes he and Michael are on their way to meet with Barzini. But instead, he is taken away by Willie Cicci and other buttonmen to be killed. Michael confronts Carlo about Sonny's murder and tricks him into admitting his role in setting up the ambush. "Today", Michael tells him, "I settle all Family business." Michael informs Carlo that his punishment is to be excluded from the family business and hands him a plane ticket to exile in Nevada. Carlo gets into a car to go to the airport, and is garroted by Clemenza.
Later, Connie confronts Michael, accusing him of Carlo's murder. Kay questions Michael about Connie's accusation, but he refuses to answer. She insists, and Michael lies, assuring his wife that he had no role in Carlo's death. Kay is relieved by his denial. As the film ends, she watches Clemenza and new caporegime Rocco Lampone pay their respects to Michael, kissing his hand and addressing him as "Don Corleone." The door is closed by new capo Al Neri, as she realizes that Michael has become the new Godfather.
“Everyone in my family is in the film business; I knew I wanted to be creative and it was important in my family to be artistic.”Coppola began her career as an infant making several background appearances in her father's films. The most well-known of these early roles is her appearance in The Godfather as the baby boy in the christening scene.
Frankenweenie (1984) was the first film she performed in that was not associated with her father. However, it often goes unnoticed due to her stage-name "Domino" which she adopted at the time because she thought it was glamorous.
Her best known role is Mary Corleone in The Godfather Part III (1990), a role for which she was cast at the last minute after Winona Ryder fell ill. This heavily criticized performance (for which she received the award of "Worst New Star" in the 1990 Golden Raspberry Awards) practically ended her acting career, save for appearances in the independent film Inside Monkey Zetterland (1992) and in the background of films by her friends and family. In 1999, she appeared as a handmaiden in George Lucas' Star Wars Episode I: The Phantom Menace (1999).
She can also be seen in several music videos from the 1990s, appearing briefly in Madonna's video for Deeper and Deeper in 1992 and went on to play a gymnast in the 1997 video for "Elektrobank" by the Chemical Brothers, which was directed by her future husband Spike Jonze.
Coppola is now better known as a successful film director. Her first three films were Lick the Star (1998), The Virgin Suicides (1999) and Lost in Translation (2003). Lost in Translation won the Academy Award for original screenplay and three Golden Globe Awards including Best Picture. With her Oscar nomination for Best Director (for Lost in Translation), Coppola became the first American woman and third woman to receive an Oscar nomination for film direction. Her win for best original screenplay made her a third-generation Oscar winner. In 2004, Coppola was invited to join the Academy of Motion Picture Arts and Sciences.
Coppola's most recent film is the biopic Marie Antoinette, adapted from the biography by British historian Lady Antonia Fraser. Kirsten Dunst plays the title character who marries King Louis XVI. It débuted at the Cannes Film Festival where, despite boos in the audience, it received a standing ovation. Critics were divided.
Coppola has often been lauded as a pop culture icon within the indie music/film communities, in Paris and Tokyo especially. Her fashion sense was always apparent, and as a child she stayed in the wardrobe department of her father's films. In 2002 fashion designer Marc Jacobs handpicked the actress/director to be the face of his house's fragrance.
“Let's never come here again because it will never be as much fun.”People who know me know I love movies and frequently ask me, “What's your favorite?” Of course I never have a single answer. When I used to think of what made a good movie, I would look at a movie from all aspects: direction, cinematography, editing, acting, story etc. The sum of all these parts make up the whole, and are also what lead me to my opinion of a film...
Then came Lost in Translation.
The first time I watched this movie, I felt a strange sense of depression that lasted for a few days, but I couldn't put my finger on why. I watched it again and again, and felt the same way each time.
Superficially, Lost in Translation is a movie about culture shock, but the experience of Westerners in Tokyo is a metaphor for more existential themes of alienation, loneliness, and the desire for companionship. The film explores these themes against the background of the modern Japanese cityscape.
People like Bob and Charlotte really exist, and they really do meet up in very similar situations. After a week, they must go their separate ways, he to his family and activities of his kids, she to wait for her husband and figure out how to get out of the rut. We sense that he does not love her they way she needs and we wonder what will happen.
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 marvellous scene where Bob and Charlotte lay 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 marriage 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 marriage, but a tinge of fear and apprehension runs through his speech. Charlotte hasn't really figured things out for herself 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.
How many of you can relate to and have actually been that guy/girl on business, in the hotel in some foreign city, happily married yet feeling alone and beaten by life's banality? How many of us have been tempted in that very situation, to stray from the confines of moral adherence for the lure of a forbidden, if fleeting, joy? How many have felt that tingle- that spark- when a stranger smiles and you think, "you know, in another life..."?
Think of the last movie that really made you think, that had such a great influence on you that it somehow changed your life, even for the littlest bit. That, to you, is a great movie... 10/10
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