Reviewer finds art in 'Lost in Translation'

Though it might seem impossible, Sophia Coppola (producer, director and screenwriter) appears on pace to outdo even her father's artistic mastery. Her newly-released second film, "Lost in Translation," has all the markings of the greatness, if not commercial success, that made Francis Ford Coppola's "Godfather" trilogy unforgettable.

In a story of powerful subtlety that touches the very core of the human soul, Coppola's inspiration shows through in breathtaking cinematography, a carefully crafted and layered script, performances by stars Scarlett Johansson ("Ghost World" and the upcoming "Girl with the Pearl Earring") and Bill Murray ("Ghostbusters," "Groundhog Day" and "The Royal Tenenbaums") and a delicately understated soundtrack.

"Lost in Translation" tells the story of two Americans stuck in and alienated from Japanese culture during their lonely sojourns in the Orient. Murray plays Benjamin Harris, a prominent American actor stuck in a loveless and nagging marriage of 25 years. Harris comes to Japan to endorse a brand of whisky and is immediately immersed in the absurdity of trying to understand what the people around him are saying, thinking and feeling. His misadventures are an abundant source of entertainment and the first 45 minutes of the movies are filled by nonstop, intellectual humor in varying shades of subtlety.

Johansson plays Charlotte, a young newlywed dragged by her ever-absent husband to live in a hotel in Japan as he photographs models that even outshine Johansson's exquisite beauty. Alienated from the culture, the people, the social sources of meaning and even the material wealth that surrounds and engulfs them, Charlotte and Ben find a deeply human connection between them that transcends sex and even love.

The plot of the film, however, reveals little of its eloquence. Coppola's "The Virgin Suicides" showed the promise of many elements that make "Lost in Translation" so gorgeous, but lacked the thematic and emotional depth that Coppola develops with her first full-length original screenplay to make it to the screen. The subtle dialogue has the literary quality too often lost in film of leaving much to the viewer's imagination. Coppola avoids turning the film into another cheap and exploitative, emotional romance, dealing with the fundamental nature of human connection instead of narrow conceptions of romantic love.

The film's humor is hilarious, but in a nuanced way that is appreciable on a variety of levels depending on the viewer's exposure to the idiosyncrasies of Japanese, relative to American, culture. The script dabbles in shades of existentialism and absurdism. It accentuates the uniquely human tones of alienation, search for meaning and deep soulful connection.

Also masterfully, Coppola succeeds in making Charlotte and Ben's cultural separation comical without insulting Japanese culture; rather, Coppola takes aim at the viewpoint of an outsider and gives us a deep sympathy for many in the United States who must feel a similar alienation.

Yet, the film's strength does not begin or end with its script. Murray plays the part perfectly, giving the best performance of his career. His character's brooding apathy and gloom hide a deeply complex and conflicted man who finds happiness, maybe for the first time in his life, through his essentially platonic connection with a younger woman with whom he shares little more than his humanity. Johansson shines as well, if with a bit less mastery; she is irresistibly likeable and plays the role of a naïve and idealistic young beauty naturally.

The cinematography and soundtrack are also excellent. Coppola and cinematographer Lance Acord ("Adaptation" and "Being John Malkovich") make ingenious use of light (both natural and artificial) and urban landscapes to paint a world that is simultaneously a beautiful painting in every frame and a deeply integral part of the story the film tells. Similarly, an understated and perfectly edited soundtrack helps immerse the audience in and guide it through the flow of this masterpiece.

With any luck, this will only be the beginning of a long and distinguished career for the younger Coppola who, at 32 has her best years ahead of her and her (and her father's) wisdom behind her. Johansson seems headed for prominence based on this role and her upcoming star spot in Vermeer-inspired "The Girl with the Pearl Earring."

Hopefully, Murray too has, as his character does in the movie, reached full maturity and will go on to shine as brightly as he did here during the remaining sunset of his long career. Regardless of where they go from here, however, all involved have the pride of having made a film of the caliber that few ever will achieve. Rating: 4.5 out of 5 paws