I don’t feel I can give a very stable assessment of Lost in Translation, at least not until I think about it more tomorrow. Maybe at that time I’ll submit an appendage to this post.
But I’d like to document my experience anyways. It was significant, as far as movie experiences go in my life. I became very immersed in the film, for better or for worse. I began in a brilliant mind, soaking in all of the film’s nuances, connecting them to my own life, pondering a bunch of different topics, analyzing the film very well and connecting all pieces wonderfully. I at that point found this film to be good, and meaningful, although not ‘great’. It had flaws, had cliches…..
But as the film progressed, I grew more tired and more attached on a purely subjective, emotional level. My critical mind quietly shut off and I was existing in a state of pure emotional immersion. It was tough. I became depressed, feeling like I was existing outside myself, in characters that I didn’t want to be. I don’t like what happened with this viewing. It is interesting, though. I imagine most people regularly experience this loss of self, during movies and otherwise, and don't notice. It makes me feel very lost, and I don’t like it.
That's when I decided I needed to go to sleep.
11/01/15
I consider Lost in Translation a very good film and an important one. It has flaws that I can't get past (which I will articulate soon), but my focus on the flaws is probably a reaction to the tidal-wave-praise the film received. Were I unaware of critical and public response, perhaps I would be overwhelmed by positivity now. In that vein it is worth mentioning that I have seen the film before, and have since developed a more critical eye. Things stack up that direct my thoughts toward criticism rather than praise of this film. However, I am far from lacking completely an appreciation of the film. In fact, my recent viewing (timely as it was) was extraordinarily insightful. I took Sofia Coppola's quiet meditation on human relationships and enhanced my understanding of the world and of my life in powerful ways. A strong reason for my calling this film great is its unique setup, whose unconventionality allows for profound insight to seep through. We see three relationships and feel strong emotional tugs one way or another. Thus with the contemplative pace of the film, the reflective viewer is left pondering why he or she feels the way he or she does regarding what's happening onscreen. Such is my case. I found the central relationship attractive in many ways, and unattractive in others. Surprisingly, I was sympathetic to the two relationships that it seemed the director was trying to label impure. By merging all of these things I was able to see the ideal of human relationships in my life.
My assessment of the film leads me every time to Sofia Coppola, whether that's righteous or unjust. My evaluation of her product (which seems so personal) tells me that she is a talented young director, young and female in an industry of otherwise, who has a keen eye for aesthetics (from visual to emotional) and a human insight beyond her years but who is not fully matured. The loud and flailing example of immaturity comes when we hear that the character of Charlotte was crafted as a philosophy major, Yale grad. I don't feel like it would be good for me to detail my response to that here. All I will say is that I find that aspect of the script incredibly juvenile, almost offensive. Other script problems include Bill Murray only periodically doing Bill Murray, unintentional attempts at mainstream humor and style being attached to the general indie quality of the film at rough seams.... Surely I have problems with this movie. But as I said, the idea of it all along with those moments of superb poignancy make up for the (relatively) poorly-controlled script. Indeed, "poignant" is a word better-attached to this film than to most others. It defines the mood.
I wish I liked these characters more, as in such a case this film would become something enormous to me. However, it is a little dated, and I find the characters as ending up somewhat two-dimensional. But what I learned in this experience was important... I would watch Lost in Translation again to relive my reflections and learn even more about the essence of inter-human connection. I like the movie a lot. I really do. And it means something to me.
11/01/15
I consider Lost in Translation a very good film and an important one. It has flaws that I can't get past (which I will articulate soon), but my focus on the flaws is probably a reaction to the tidal-wave-praise the film received. Were I unaware of critical and public response, perhaps I would be overwhelmed by positivity now. In that vein it is worth mentioning that I have seen the film before, and have since developed a more critical eye. Things stack up that direct my thoughts toward criticism rather than praise of this film. However, I am far from lacking completely an appreciation of the film. In fact, my recent viewing (timely as it was) was extraordinarily insightful. I took Sofia Coppola's quiet meditation on human relationships and enhanced my understanding of the world and of my life in powerful ways. A strong reason for my calling this film great is its unique setup, whose unconventionality allows for profound insight to seep through. We see three relationships and feel strong emotional tugs one way or another. Thus with the contemplative pace of the film, the reflective viewer is left pondering why he or she feels the way he or she does regarding what's happening onscreen. Such is my case. I found the central relationship attractive in many ways, and unattractive in others. Surprisingly, I was sympathetic to the two relationships that it seemed the director was trying to label impure. By merging all of these things I was able to see the ideal of human relationships in my life.
My assessment of the film leads me every time to Sofia Coppola, whether that's righteous or unjust. My evaluation of her product (which seems so personal) tells me that she is a talented young director, young and female in an industry of otherwise, who has a keen eye for aesthetics (from visual to emotional) and a human insight beyond her years but who is not fully matured. The loud and flailing example of immaturity comes when we hear that the character of Charlotte was crafted as a philosophy major, Yale grad. I don't feel like it would be good for me to detail my response to that here. All I will say is that I find that aspect of the script incredibly juvenile, almost offensive. Other script problems include Bill Murray only periodically doing Bill Murray, unintentional attempts at mainstream humor and style being attached to the general indie quality of the film at rough seams.... Surely I have problems with this movie. But as I said, the idea of it all along with those moments of superb poignancy make up for the (relatively) poorly-controlled script. Indeed, "poignant" is a word better-attached to this film than to most others. It defines the mood.
I wish I liked these characters more, as in such a case this film would become something enormous to me. However, it is a little dated, and I find the characters as ending up somewhat two-dimensional. But what I learned in this experience was important... I would watch Lost in Translation again to relive my reflections and learn even more about the essence of inter-human connection. I like the movie a lot. I really do. And it means something to me.
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