It is both with sheer defiance of conformity and with homage, Sofia Coppola opens the film with the image of Scarlett Johansson’s rear in a pair of see-thru pink panties. The shot was original made by photographer maestro Richard Avedon, but here Coppola transposes the image from slick fashion to girlish eroticism, alluding the opening shot of Kubrick’s “Lolita”.

The story has been told many times again. Most celebrated in David Lean’s “Brief Encounter”, in modern times in Wong Kar Wai’s “In the mood for love”, it is the tale about how two strangers find comfort in each other. What differs is the motif. In “Lost in Translation”, it is the existential crisis, where one needs to move on, but has no where to go.

Bob is an aged actor, who is on the run away from both his family and himself. Charlotte is an accessory to her husband. Both are looking for an answer, which will give it all meaning. They find it in each other.

What makes “Lost in Translation” so brilliant is the delicacy of the emotional bond between Bob and Charlotte, which Jim Hoberman notes as tribute to Japanese director Naruse. This porcelain love is only possible due to two great women: Director Sofia Coppola who never lets a scene die and Scarlett Johansson, who both stands out an incredible actor and one of the sweetest beings on earth. Thanks to some amazing cinematography by Lance Acord – and editing by the worlds best editor atm Sarah Flack – the compositions dwell in space and tence, maintaining the electricity between Bob and Charlotte. “Lost in Translation” is easy the best shot and edited film of 2003.

Equally impressive is the direction, which at times reminds one of Nouvelle Vague. There is a sense of rebellious freedom in the tracking shots. And as “In the mood for Love”, “Lost in Translation” is largely improvised. The script, which oddly won an Oscar, is mere 20-30 pages of notes. Knowing this makes many scenes even more enjoyable: Watch for instance the two ladies in the back of the waiting room at the hospital and how they fight not to laugh as Bill Murray sits and improvises a comic relief scene.

Showing amazing talent for structure and timing in “Virgin Suicides”, Sofia Coppola here demonstrates that she already is a great director, with a keen eye for what makes women (girls) so incredible sweet.
 

Henrik Sylow