What do you think?
Rate this book
BFI Film Classics
Lost in Translation
Sofia Coppola's Lost in Translation (2003) brings two Americans together in Tokyo, each experiencing a personal crisis. Charlotte (Scarlett Johansson), a recent graduate in philosophy, faces an uncertain professional future, while Bob Harris (Bill Murray), an established celebrity, questions his choices at midlife. Both are distant - emotionally and spatially - from their spouses. They are lost until they develop an intimate connection. In the film's poignant, famously ambiguous closing scene, they find each other, only to separate.
In this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation 's structuring device of her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too.
In this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation 's structuring device of her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too.
- GenresNonfictionFilm
112 pages, Paperback
First published March 9, 2023
4 people are currently reading
85 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 17 of 17 reviews
Read
April 24, 2023Source of book: NetGalley (thank you)
Relevant disclaimers: None
Please note: This review may not be reproduced or quoted, in whole or in part, without explicit consent from the author.
And remember: I am not here to judge your drag, I mean your book. Books are art and art is subjective. These are just my personal thoughts. They are not meant to be taken as broader commentary on the general quality of the work. Believe me, I have not enjoyed many an excellent book, and my individual lack of enjoyment has not made any of those books less excellent or (more relevantly) less successful.
Further disclaimer: Readers, please stop accusing me of trying to take down “my competition” because I wrote a review you didn’t like. This is complete nonsense. Firstly, writing isn’t a competitive sport. Secondly, I only publish reviews of books in the subgenre where I’m best known (queer romcom) if I have good things to say. And finally: taking time out of my life to read an entire book and then write a GR review about it would be a profoundly inefficient and ineffective way to damage the careers of other authors. If you can’t credit me with simply being a person who loves books and likes talking about them, at least credit me with enough common sense to be a better villain.
*******************************************
I snagged this off NG out of pure curiosity and “it was there so I asked for it”-ness. I think it’s part of a wider series, all by different authors, deep diving into various landmarks of cinema or whatever. And, look, cards on the table, I know nothing—absolutely nothing—about film. Like, I watch them? But I love close readings and I’m deeply fond of Lost in Translation (for its problematic aspects and the Bill Murrayness of it all) so this slim but comprehensive, and stylishly written piece by Suzanne Ferriss was kind an instant win for me.
Ferriss brings expertise to bear on the film that I couldn’t bring for myself, while at the same time keeping her tone light and accessible throughout. Doing this kind of analysis in a way that comes across as neither condescending nor obscure is a whole art in itself—and I personally felt this whole volume was a masterclass in it. Given the film is so much framed around ideas of journeying, emotionally and spatially, the book is structured the same way, starting with ‘trip planning’ and ending with ‘departures’. As devices go, it’s probably a little on the nose but, in the right nasal context, on the nose is exactly where you want to be. It covers the background to making the film, the story of the film itself, the making of film including the music and the cinematography and the use of locations, and the final section covers the film’s reception. It includes references to interviews etc. with Coppola and the cast, but never enough to be overwhelming.
The only thing that kind of … I wouldn’t say it didn’t work for me, but that I felt ambiguous about, was that I wish the book had come across slightly less defensive on the subject of Lost in Translation’s orientalism or potential orientalism? And, look, this is difficult because the film came out a long time ago, this is out of my lane, and—while I think it always behoves us to be aware of how things might come across to people who aren’t us—I don’t think it’s … necessarily meaningful or useful for critics and consumers to view texts solely through the lens of how they reflect or fail to reflect current discourse. Plus, if I pick too hard this book’s exploration of the portrayal of Japan and the Japanese in Lost in Translation, it’ll essentially be a white person dinging a work of analysis written by another (I presume white? At least not Japanese) person about a film from 2003 written and directed by a different white person. That’s … that’s a lot of white people getting up in Asia’s grill, and that is not good.
The final section of the book brings together a range of critical perspectives, positive and negative, and some from Japan (and apparently some Japanese critics and viewers do appreciate the film), and I think it does attempt to be even handed, but I also personally found a bit too quick to … not excuse exactly but re-interpret aspects of film I would be personally inclined to find inescapably orientalist as thematic. For example, regarding the notorious sex worker scene, Ferriss writes:
But … is it though? Is it not just foregrounding multiple levels of stereotyping in a way that doesn’t deconstruct them at all? And it’s also not the only time the film decides to make a big deal out of the fact sometimes Japanese speakers transpose their Ls and Rs. Like is that a thing we’re still trying to excuse in 2023? How well does anyone think I, a British person, speak Japanese? And I think I could probably see Ferriss’s point if this scene stood alone in the film. But it doesn’t: Japan is constantly being shot disorientatingly and shown through windows, nearly everything about the hotel itself is shown to be alienating and/or uncomfortable (like ill-fitting kimonos or too-small showers or lifts full of Asian businessman who are shorter than is typical for western men: why would there be so many Asian businessmen in a lift in a tourist hotel?), and the broader elements of Japan and Japanese culture that the film showcases are either serene temples or cartoonish talk shows. And I do get that, in general, Japan is used to reflect the emotional context of the central characters in the film. But, um, Japan is a real place? Where people live? Who, y’know, presumably think it is normal to live there? Rather than existing as a metaphor for white western psychological dislocation?
Anyway. Anyway. I completely see that focusing on those aspects of the film was not necessarily within the remit of this book, nor appropriate for Ferriss to do (in the same way, it’s not super appropriate for me to try and untangle some of it now). I think for me, though, I feel the book could have steered a slightly more neutral course through its exploration of the film’s reception—in the sense that while it is willing to present alternative, more critical readings, it is also inclined to re-frame them, something it doesn’t feel the need to do for unalloyed positive commentary.
All of which said, I’m sure if you’re already a film buff, there’s nothing here that’ll be particularly revelatory for you. But I think it’s sufficiently engagingly written (there’s a throwaway line about Odysseus being the first celebrity on tour that really tickled me) and undemanding in terms of time commitment that I feel comfortable recommending it anyway. For me, though, as a total film pleb, I sincerely appreciated the book, and it made me want to watch Lost in Translation again, with greater understanding and a more informed perspective.
Relevant disclaimers: None
Please note: This review may not be reproduced or quoted, in whole or in part, without explicit consent from the author.
And remember: I am not here to judge your drag, I mean your book. Books are art and art is subjective. These are just my personal thoughts. They are not meant to be taken as broader commentary on the general quality of the work. Believe me, I have not enjoyed many an excellent book, and my individual lack of enjoyment has not made any of those books less excellent or (more relevantly) less successful.
Further disclaimer: Readers, please stop accusing me of trying to take down “my competition” because I wrote a review you didn’t like. This is complete nonsense. Firstly, writing isn’t a competitive sport. Secondly, I only publish reviews of books in the subgenre where I’m best known (queer romcom) if I have good things to say. And finally: taking time out of my life to read an entire book and then write a GR review about it would be a profoundly inefficient and ineffective way to damage the careers of other authors. If you can’t credit me with simply being a person who loves books and likes talking about them, at least credit me with enough common sense to be a better villain.
*******************************************
I snagged this off NG out of pure curiosity and “it was there so I asked for it”-ness. I think it’s part of a wider series, all by different authors, deep diving into various landmarks of cinema or whatever. And, look, cards on the table, I know nothing—absolutely nothing—about film. Like, I watch them? But I love close readings and I’m deeply fond of Lost in Translation (for its problematic aspects and the Bill Murrayness of it all) so this slim but comprehensive, and stylishly written piece by Suzanne Ferriss was kind an instant win for me.
Ferriss brings expertise to bear on the film that I couldn’t bring for myself, while at the same time keeping her tone light and accessible throughout. Doing this kind of analysis in a way that comes across as neither condescending nor obscure is a whole art in itself—and I personally felt this whole volume was a masterclass in it. Given the film is so much framed around ideas of journeying, emotionally and spatially, the book is structured the same way, starting with ‘trip planning’ and ending with ‘departures’. As devices go, it’s probably a little on the nose but, in the right nasal context, on the nose is exactly where you want to be. It covers the background to making the film, the story of the film itself, the making of film including the music and the cinematography and the use of locations, and the final section covers the film’s reception. It includes references to interviews etc. with Coppola and the cast, but never enough to be overwhelming.
The only thing that kind of … I wouldn’t say it didn’t work for me, but that I felt ambiguous about, was that I wish the book had come across slightly less defensive on the subject of Lost in Translation’s orientalism or potential orientalism? And, look, this is difficult because the film came out a long time ago, this is out of my lane, and—while I think it always behoves us to be aware of how things might come across to people who aren’t us—I don’t think it’s … necessarily meaningful or useful for critics and consumers to view texts solely through the lens of how they reflect or fail to reflect current discourse. Plus, if I pick too hard this book’s exploration of the portrayal of Japan and the Japanese in Lost in Translation, it’ll essentially be a white person dinging a work of analysis written by another (I presume white? At least not Japanese) person about a film from 2003 written and directed by a different white person. That’s … that’s a lot of white people getting up in Asia’s grill, and that is not good.
The final section of the book brings together a range of critical perspectives, positive and negative, and some from Japan (and apparently some Japanese critics and viewers do appreciate the film), and I think it does attempt to be even handed, but I also personally found a bit too quick to … not excuse exactly but re-interpret aspects of film I would be personally inclined to find inescapably orientalist as thematic. For example, regarding the notorious sex worker scene, Ferriss writes:
Revisiting the scene in a contemporary context, the play on accents may appear offensive. In the context of the film, however, the scene is far more complexly situated, foregrounding multiple levels of miscommunication, stereotyping and, above all, the problematics of celebrity.
But … is it though? Is it not just foregrounding multiple levels of stereotyping in a way that doesn’t deconstruct them at all? And it’s also not the only time the film decides to make a big deal out of the fact sometimes Japanese speakers transpose their Ls and Rs. Like is that a thing we’re still trying to excuse in 2023? How well does anyone think I, a British person, speak Japanese? And I think I could probably see Ferriss’s point if this scene stood alone in the film. But it doesn’t: Japan is constantly being shot disorientatingly and shown through windows, nearly everything about the hotel itself is shown to be alienating and/or uncomfortable (like ill-fitting kimonos or too-small showers or lifts full of Asian businessman who are shorter than is typical for western men: why would there be so many Asian businessmen in a lift in a tourist hotel?), and the broader elements of Japan and Japanese culture that the film showcases are either serene temples or cartoonish talk shows. And I do get that, in general, Japan is used to reflect the emotional context of the central characters in the film. But, um, Japan is a real place? Where people live? Who, y’know, presumably think it is normal to live there? Rather than existing as a metaphor for white western psychological dislocation?
Anyway. Anyway. I completely see that focusing on those aspects of the film was not necessarily within the remit of this book, nor appropriate for Ferriss to do (in the same way, it’s not super appropriate for me to try and untangle some of it now). I think for me, though, I feel the book could have steered a slightly more neutral course through its exploration of the film’s reception—in the sense that while it is willing to present alternative, more critical readings, it is also inclined to re-frame them, something it doesn’t feel the need to do for unalloyed positive commentary.
All of which said, I’m sure if you’re already a film buff, there’s nothing here that’ll be particularly revelatory for you. But I think it’s sufficiently engagingly written (there’s a throwaway line about Odysseus being the first celebrity on tour that really tickled me) and undemanding in terms of time commitment that I feel comfortable recommending it anyway. For me, though, as a total film pleb, I sincerely appreciated the book, and it made me want to watch Lost in Translation again, with greater understanding and a more informed perspective.
May 5, 2025
I've actually never seen this film, and some of the writing here is pretentious, but as I mostly enjoyed myself and blew through this in one sitting, a well-deserved rating is a well-deserved rating. I imagine this falls prey to the same issues as most other Americans-go-abroad whatevers, including the fact that the Japanese are looked upon in a condescending manner.
Cheating isn't a trope I enjoy, but I've been curious about this film, and Sofia's work, ever since I saw how influenced she was by IN THE MOOD FOR LOVE, one of the greatest films of all time, which I saw for the first time last year. Don't ask how many times I've seen it since. Don't ask how many cheongsams I stole from my mom after. Don't ask anything.
📱 Thank you to NetGalley and British Film Institute
Cheating isn't a trope I enjoy, but I've been curious about this film, and Sofia's work, ever since I saw how influenced she was by IN THE MOOD FOR LOVE, one of the greatest films of all time, which I saw for the first time last year. Don't ask how many times I've seen it since. Don't ask how many cheongsams I stole from my mom after. Don't ask anything.
📱 Thank you to NetGalley and British Film Institute
February 28, 2023
Brilliant!
‘Lost in Translation’ is one of my fave movies. I watch it at least once a year and never tire of it. Ferriss’ superb analysis gives gravitas to my many reasons for admiring it.
Bill Murray and Scarlett Johansson are just ideal in their portrayals of two people who accidentally meet in Tokyo.
The improvisational tone of the movie, the talent of Murray and Johansson is noted.
Sofia Coppola’s genius is applauded—her focused application of what she determines will work, coupled with her intuitive understanding.
As Ferriss posits,
“Lost in Translation ingeniously and inventively manipulates cinematic conventions. This is the key to Coppola’s originality and to the film’s designation as a classic.”
I love this summary, “the film represents [Charlotte and Bob’s] unsettled emotional states as geographical and cultural dislocation: they are lost, physically and psychologically. [They] develop an intimate connection during their stay at the Park Hyatt hotel and shared experience of Tokyo nightlife. It could be a travel film, perhaps of the ‘brief encounter’ variety, or a May–September romance, or a romantic comedy.”
I seconded a further observation,
“The film’s opening is a bold assertion of cinema’s status as an art, like the painting it references, or literature, which similarly relies on the audience’s imaginative engagement to find meaning – to connect scenes, to make sense of disconnected fragments of information, to link them through memory.”
Ferris’s takes us on a trip, a traveling along the same route that Coppola took in the filming. Exciting!
Her treatise is just so filled with discerning insight about the movie that as I underlined quotes, I realized I was in danger of selecting the whole book.
A “must” for anyone who feels an appreciation for Lost in Translation. A pathway to further discoveries and a fascinating read.
A Bloomsbury ARC via NetGalley.
Many thanks to the author and publisher.
Please note: Quotes taken from an advanced reading copy maybe subject to change
‘Lost in Translation’ is one of my fave movies. I watch it at least once a year and never tire of it. Ferriss’ superb analysis gives gravitas to my many reasons for admiring it.
Bill Murray and Scarlett Johansson are just ideal in their portrayals of two people who accidentally meet in Tokyo.
The improvisational tone of the movie, the talent of Murray and Johansson is noted.
Sofia Coppola’s genius is applauded—her focused application of what she determines will work, coupled with her intuitive understanding.
As Ferriss posits,
“Lost in Translation ingeniously and inventively manipulates cinematic conventions. This is the key to Coppola’s originality and to the film’s designation as a classic.”
I love this summary, “the film represents [Charlotte and Bob’s] unsettled emotional states as geographical and cultural dislocation: they are lost, physically and psychologically. [They] develop an intimate connection during their stay at the Park Hyatt hotel and shared experience of Tokyo nightlife. It could be a travel film, perhaps of the ‘brief encounter’ variety, or a May–September romance, or a romantic comedy.”
I seconded a further observation,
“The film’s opening is a bold assertion of cinema’s status as an art, like the painting it references, or literature, which similarly relies on the audience’s imaginative engagement to find meaning – to connect scenes, to make sense of disconnected fragments of information, to link them through memory.”
Ferris’s takes us on a trip, a traveling along the same route that Coppola took in the filming. Exciting!
Her treatise is just so filled with discerning insight about the movie that as I underlined quotes, I realized I was in danger of selecting the whole book.
A “must” for anyone who feels an appreciation for Lost in Translation. A pathway to further discoveries and a fascinating read.
A Bloomsbury ARC via NetGalley.
Many thanks to the author and publisher.
Please note: Quotes taken from an advanced reading copy maybe subject to change
February 10, 2023
Lost in Translation is one of my favourite movies, and in this volume Suzanne Ferriss offers a wonderful exploration of the film, which incorporates behind-the-scenes stories with a detailed analysis of different key moments, the use of colour and music and where the film sits within Coppola's collection of works. It was a short and quick read but packed full of fascinating information. It's definitely worth a read if, like me, you adore this movie and are interested in a deeper analysis of it as a text. I am giving the book 4.5 stars.
I received this book as a free eBook ARC via NetGalley in exchange for an honest review.
I received this book as a free eBook ARC via NetGalley in exchange for an honest review.
October 21, 2025
Un libro que analiza Lost in Translation, una de mis películas favoritas. Detallado, divertido y con muchos fotogramas de la película incluidos. Viene genial para quienes, como yo, no estamos especialmente familiarizados con el análisis fílmico.
February 3, 2024
A survey often more descriptive than analytical, but providing a useful summary of how commentators and critics have responded to the film’s controversial depiction of Japan. The existential doubts of the characters and the motif of spectatorship are not extended into a general theory of mistranslation that I think can be applied to the film, not least to its final famous scene, which depicts a moment of true communication which the audience are not offered a translation for. That’s another way of saying that the book suggests avenues of exegesis rather than giving a definitive take.
Read
September 2, 2024First off, how do you bag a job like Professor of Sofia Coppola Studies? Where do I sign up? Also not to slight her talent because she's truly one of the best nepo babies but how do I become a fashion designer as a young adult and then shift into filmmaking if my father isn't Francis Ford Coppola?
I think some of the analysis is a little too basic but it builds on itself in a strong way by the halfway point. The author was very thoughtful in how she handled the film's perceived cultural insensitivity (the difference between the insensitivity or ignorance of characters versus that of the creators of a piece of media) while still allowing for valid criticisms of the film's depiction of Japan.
LOVED how she brought attention to contrasts in certain recurring images and motifs.
LOVED how it explored Coppola's use of music.
In general, I was worried that this would cover too many things that I already know since I've seen this movie so many times and I'm so pleased to say that it goes beyond and then some. A really good little book of film history and criticism.
I think some of the analysis is a little too basic but it builds on itself in a strong way by the halfway point. The author was very thoughtful in how she handled the film's perceived cultural insensitivity (the difference between the insensitivity or ignorance of characters versus that of the creators of a piece of media) while still allowing for valid criticisms of the film's depiction of Japan.
LOVED how she brought attention to contrasts in certain recurring images and motifs.
LOVED how it explored Coppola's use of music.
In general, I was worried that this would cover too many things that I already know since I've seen this movie so many times and I'm so pleased to say that it goes beyond and then some. A really good little book of film history and criticism.
January 17, 2024
[ENG] Review: Lost In Translation (BFI Film Classics) by Suzanne Ferriss
I received this book as a free eBook ARC via NetGalley in exchange for an honest review.
I watched Lost in translation in 2005 and since then, it became my favorite movie. I've rewatched it so many times, immersing myself in its world, and truly it's a film that means a lot to me. While I'm watching, it makes me forget about everything else and makes me dream about living an experience in Tokyo like Charlotte's so many times (although it's still in my bucket list).
Through the pages of this book, Suzanne Ferris take us on a trip to Tokyo again, analysing every aspect of the film, from its beginnings on the mind of Sofia Coppola, to its cast, soundtrack (which is sometimes considered the third main character), and everything about its filming and production.
As a long time fan of the movie, I knew many facts about it, but I discovered some new information. The analysis of the scenes and the relationship of the two main characters, Charlotte (Scarlett Johansson) and Bob (Bill Murray), was good, although I expected a deeper analysis, but it was okay. It has some passages that made me rethink about some parts of the movie and my interpretation about them.
In conclusion, it was an interesting reading and even though I got the free eBook ARC, I've bought a physical copy because I'd love to have it on my bookshelf alongside my two Lost in Translation DVD's.
[ESP] Reseña: Lost In Translation (BFI Film Classics) by Suzanne Ferriss
Recibí este libro como eBook ARC gratuito a través de NetGalley a cambio de una reseña honesta.
Vi Lost in translation en 2005 y desde entonces se convirtió en mi película favorita. La he vuelto a ver muchas veces, sumergiéndome en su mundo, y es una película que significa mucho para mí. Mientras la estoy viendo, me hace olvidarme de todo lo demás y me hace soñar con vivir una experiencia como la de Charlotte muchas veces (aunque todavía está en mi lista de deseos).
A través de las páginas de este libro, Suzanne Ferris nos lleva nuevamente a Tokio, analizando cada aspecto de la película, desde sus inicios en la mente de Sofia Coppola, hasta su elenco, banda sonora (que a veces es considerada el tercer personaje principal), y todo sobre su filmación y producción.
Como fan de la película, sabía muchos datos al respecto, pero descubrí algo de información nueva. El análisis de las escenas y la relación de los dos personajes principales, Charlotte (Scarlett Johansson) y Bob (Bill Murray), estuvo bien, aunque esperaba un análisis más profundo, pero bueno. Tiene algunos pasajes que me hicieron repensar acerca de partes de la película y mi interpretación sobre algunas de ellas.
En conclusión, fue una lectura interesante y, aunque obtuve el eBook ARC gratis, compré una copia física porque me encantaría tenerlo en mi estantería junto con mis dos DVD de Lost in Translation.
I received this book as a free eBook ARC via NetGalley in exchange for an honest review.
I watched Lost in translation in 2005 and since then, it became my favorite movie. I've rewatched it so many times, immersing myself in its world, and truly it's a film that means a lot to me. While I'm watching, it makes me forget about everything else and makes me dream about living an experience in Tokyo like Charlotte's so many times (although it's still in my bucket list).
Through the pages of this book, Suzanne Ferris take us on a trip to Tokyo again, analysing every aspect of the film, from its beginnings on the mind of Sofia Coppola, to its cast, soundtrack (which is sometimes considered the third main character), and everything about its filming and production.
As a long time fan of the movie, I knew many facts about it, but I discovered some new information. The analysis of the scenes and the relationship of the two main characters, Charlotte (Scarlett Johansson) and Bob (Bill Murray), was good, although I expected a deeper analysis, but it was okay. It has some passages that made me rethink about some parts of the movie and my interpretation about them.
In conclusion, it was an interesting reading and even though I got the free eBook ARC, I've bought a physical copy because I'd love to have it on my bookshelf alongside my two Lost in Translation DVD's.
[ESP] Reseña: Lost In Translation (BFI Film Classics) by Suzanne Ferriss
Recibí este libro como eBook ARC gratuito a través de NetGalley a cambio de una reseña honesta.
Vi Lost in translation en 2005 y desde entonces se convirtió en mi película favorita. La he vuelto a ver muchas veces, sumergiéndome en su mundo, y es una película que significa mucho para mí. Mientras la estoy viendo, me hace olvidarme de todo lo demás y me hace soñar con vivir una experiencia como la de Charlotte muchas veces (aunque todavía está en mi lista de deseos).
A través de las páginas de este libro, Suzanne Ferris nos lleva nuevamente a Tokio, analizando cada aspecto de la película, desde sus inicios en la mente de Sofia Coppola, hasta su elenco, banda sonora (que a veces es considerada el tercer personaje principal), y todo sobre su filmación y producción.
Como fan de la película, sabía muchos datos al respecto, pero descubrí algo de información nueva. El análisis de las escenas y la relación de los dos personajes principales, Charlotte (Scarlett Johansson) y Bob (Bill Murray), estuvo bien, aunque esperaba un análisis más profundo, pero bueno. Tiene algunos pasajes que me hicieron repensar acerca de partes de la película y mi interpretación sobre algunas de ellas.
En conclusión, fue una lectura interesante y, aunque obtuve el eBook ARC gratis, compré una copia física porque me encantaría tenerlo en mi estantería junto con mis dos DVD de Lost in Translation.
January 26, 2024
El libro habla de cuestions del detrás de escena de la filmación de la película e inspiraciones que tuvo Sofia Coppola al momento de crear esta hermosa película.
February 28, 2024
As someone who has been obsessed with this film for two decades, I was excited to find more content based around the film. The dvd releases of the movie have been pretty slim when it came to behind the scenes extras and so many of us have been dying to find more than just online reviews and revisit articles.
Though a quick read, I really enjoyed how it breaks down from the technical aspects of creating the film itself and also the psychological and metaphorical breakdown of the film’s characters and narrative.
It also highlights the progression of Coppola’s works as they have evolved from her start to current releases. This only makes me even more impatient for a proper rerelease, with even more bonus content.
Also I’m sure it’s been noted but Marlon Wayans played Dean in “On The Rocks”, not his brother Damon.
Though a quick read, I really enjoyed how it breaks down from the technical aspects of creating the film itself and also the psychological and metaphorical breakdown of the film’s characters and narrative.
It also highlights the progression of Coppola’s works as they have evolved from her start to current releases. This only makes me even more impatient for a proper rerelease, with even more bonus content.
Also I’m sure it’s been noted but Marlon Wayans played Dean in “On The Rocks”, not his brother Damon.
June 9, 2024
This book was an interesting read for fans of the movie, (of which I am one) though I found it a little philosophical at times. This also touched on some of Coppola’s other movies in relation to the film. I was hoping for a more intimate, behind the scenes experience, but I think those who enjoy film theory might enjoy this.
March 10, 2023
Suzanne Ferriss, Lost in Translation, Bloomsbury Academic, 2023.
Thank you, NetGalley and Bloomsbury Academic for providing me with this uncorrected proof for review.
Lost in Translation is a BFI Film Classics publication aimed at ‘introd[ucing]. Interpret[ing] and celebrat[ing] landmarks of world cinema’. Suzanne Ferris has fulfilled this task in an engaging and through manner, the detailed information she assembles giving the reader a valuable analysis of the film.
I particularly relished the attention given to the screen shots and have made it a mission to return to the film with this additional information at hand. Although the film can be appreciated without it, what a wealth of understanding this analysis brings to a film that does not give the audience the ‘grander, fiercer – danger’ demanded by critic David Denby, but dares differently. Ferriss does not ignore another source of criticism, the treatment of Japan and Japanese people and culture – there is a comprehensive consideration of this feature in the last chapter which covers reception of the film. This is a chapter immensely worthwhile reflecting upon.
The chapters cover the focus of the film: Trip Planning, Arrivals, Accommodations, Sights, Departures and Reception. There is an introduction that places Lost in Translation amongst the other films Sophia Coppola has completed - full length and short films, videos, commercials, an opera and a Christmas special. We are introduced to the significance of the screen shots through the introduction. This places the reader at the beginning and end of the film before taking them through the process through which Coppola brings her idea to fruition - a process that is developed not only by Coppola but by Ferris’s rendering of her analysis of Lost in Translation. The stars are introduced – but at the same time the chapter headings ensure that the reader acknowledges what Coppola is doing. Ferris keeps in our minds that the film is about planning, arrivals, sights and departures, not to be forgotten while she tells us about Bob Harris and Charlotte, their backgrounds and aspirations.
The book includes an informative bibliography, comprehensive notes for each chapter; a list of credits; lists covering additional music and Japanese casting; TV clips: and a host of photographs. Ferris has cleverly assembled the material into a work that gives the reader an excellent understanding Coppola’s aspirations and implementation of these in Lost in Translation.
Thank you, NetGalley and Bloomsbury Academic for providing me with this uncorrected proof for review.
Lost in Translation is a BFI Film Classics publication aimed at ‘introd[ucing]. Interpret[ing] and celebrat[ing] landmarks of world cinema’. Suzanne Ferris has fulfilled this task in an engaging and through manner, the detailed information she assembles giving the reader a valuable analysis of the film.
I particularly relished the attention given to the screen shots and have made it a mission to return to the film with this additional information at hand. Although the film can be appreciated without it, what a wealth of understanding this analysis brings to a film that does not give the audience the ‘grander, fiercer – danger’ demanded by critic David Denby, but dares differently. Ferriss does not ignore another source of criticism, the treatment of Japan and Japanese people and culture – there is a comprehensive consideration of this feature in the last chapter which covers reception of the film. This is a chapter immensely worthwhile reflecting upon.
The chapters cover the focus of the film: Trip Planning, Arrivals, Accommodations, Sights, Departures and Reception. There is an introduction that places Lost in Translation amongst the other films Sophia Coppola has completed - full length and short films, videos, commercials, an opera and a Christmas special. We are introduced to the significance of the screen shots through the introduction. This places the reader at the beginning and end of the film before taking them through the process through which Coppola brings her idea to fruition - a process that is developed not only by Coppola but by Ferris’s rendering of her analysis of Lost in Translation. The stars are introduced – but at the same time the chapter headings ensure that the reader acknowledges what Coppola is doing. Ferris keeps in our minds that the film is about planning, arrivals, sights and departures, not to be forgotten while she tells us about Bob Harris and Charlotte, their backgrounds and aspirations.
The book includes an informative bibliography, comprehensive notes for each chapter; a list of credits; lists covering additional music and Japanese casting; TV clips: and a host of photographs. Ferris has cleverly assembled the material into a work that gives the reader an excellent understanding Coppola’s aspirations and implementation of these in Lost in Translation.
November 25, 2023
Lost in Translation by Suzanne Ferriss is a fascinating and insightful analysis of the award-winning film directed by Sofia Coppola. The book takes a close look at the film's narrative structure, themes, filming techniques, and characters to offer readers a deeper understanding of this critically acclaimed movie.
The author mirrors the film's structuring device of travel, taking readers on a journey from planning to departure. She details the complexities of filming in Tokyo without permits, explores Coppola's allusions to fine art, subtle color palette, and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, both together and alone.
Ferriss also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: "Coppolism." She argues that Lost in Translation is not only a classic film but also classic Coppola, with its signature blend of introspection, melancholy, and intimacy.
The book is well-researched, and the author's writing is clear and engaging. The analysis is thorough and nuanced, making it a must-read for anyone interested in film studies, Japanese culture, or contemporary American cinema. Ferriss's insights into the film's themes of loneliness, alienation, and the search for human connection are particularly compelling, and her analysis of the characters' emotional journeys is insightful and thought-provoking.
Overall, Lost in Translation is an excellent book that offers a fresh perspective on a classic film. It's a must-read for anyone who wants to delve deeper into the themes, characters, and filmmaking techniques behind one of the most critically acclaimed movies of the 21st century.
The author mirrors the film's structuring device of travel, taking readers on a journey from planning to departure. She details the complexities of filming in Tokyo without permits, explores Coppola's allusions to fine art, subtle color palette, and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, both together and alone.
Ferriss also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: "Coppolism." She argues that Lost in Translation is not only a classic film but also classic Coppola, with its signature blend of introspection, melancholy, and intimacy.
The book is well-researched, and the author's writing is clear and engaging. The analysis is thorough and nuanced, making it a must-read for anyone interested in film studies, Japanese culture, or contemporary American cinema. Ferriss's insights into the film's themes of loneliness, alienation, and the search for human connection are particularly compelling, and her analysis of the characters' emotional journeys is insightful and thought-provoking.
Overall, Lost in Translation is an excellent book that offers a fresh perspective on a classic film. It's a must-read for anyone who wants to delve deeper into the themes, characters, and filmmaking techniques behind one of the most critically acclaimed movies of the 21st century.
April 14, 2023
Lost in Translation by Suzanne Ferriss is an excellent addition to the BFI Classics series. The books in this series, from many years ago to the present, cover the essentials of the film under discussion but how varies by writer. This blends the various areas (such as production and reception, among others) into a nice narrative structure that moves the reader through both the film and the story of the film.
Like so many people, this is one of those films I can, and do, watch fairly regularly. Sometimes I lose myself in the aspects of the main characters with which I most relate, while others I look more at how those things are accomplished. This volume will add to future viewings of both types, making connections and highlighting nuances I was unaware of or had forgotten.
Ferriss doesn't shy away from controversies about the film, addressing them with an even-handed approach, presenting both the complaints and the thinking behind what was done. The reader is left to decide to what degree they want to take the issues into account.
Like most of the BFI Classics books I've read or studied over the decades, I highly recommend this to both film/popular culture scholars as well as fans of the movie. Everyone will come away with new information and a greater appreciation of the film.
Reviewed from a copy made available by the publisher via NetGalley.
Like so many people, this is one of those films I can, and do, watch fairly regularly. Sometimes I lose myself in the aspects of the main characters with which I most relate, while others I look more at how those things are accomplished. This volume will add to future viewings of both types, making connections and highlighting nuances I was unaware of or had forgotten.
Ferriss doesn't shy away from controversies about the film, addressing them with an even-handed approach, presenting both the complaints and the thinking behind what was done. The reader is left to decide to what degree they want to take the issues into account.
Like most of the BFI Classics books I've read or studied over the decades, I highly recommend this to both film/popular culture scholars as well as fans of the movie. Everyone will come away with new information and a greater appreciation of the film.
Reviewed from a copy made available by the publisher via NetGalley.
September 20, 2024
Short and sweet, absolutely packed with tidbits and insights this Lost in Translation superfan hadn’t seen elsewhere. Not sold on the structure and could have benefited from some more personal reactions/connections.
August 20, 2023
Beautifully written and engaging with precise and insightful analysis and wit. The structure choice is also fabulous. If you haven’t seen the movie, you will now feel you must. If you have, you will be eager to watch it again (and perhaps again). Highly recommended!
May 25, 2023
This is a really thorough look at the film Lost in Translation, with every titbit of information you could want to know. It is not a critique but more of a guide to what's happening in the film and why those choices were made. It also looks at the films negative and positive feedback and comments on the thoughts behind this, and also delves into the behind the scenes goings-on. It contains a generous amount of film stills. I can see this being helpful reference to a film student as I would have done back in my college days.
Displaying 1 - 17 of 17 reviews