Lost in Translation: A Communications Centric Analysis - Movie Review Example

Section/# “Lost in Translation A Communications Centric Analysis As the implies, the movie “Lost in Translation” has a certain and definite relation to the means by which individuals express and understand the differing shades of meaning that are related through the course of normal conversational communication and non-verbal expression. As such, this brief analysis will consider the above film from the communications standpoint and seek to draw inference based upon the unique concepts and ideas presented therein. More than a simple movie about the way in which two Americans in a foreign land meet and share friendship and closeness, the levels of communication that exist within the film can be traced far deeper and have a far greater level of symbolism and integration with key concepts of communication and the fundamental means by which humans interact with one another. Naturally, and most obviously, one cannot overlook the fact that the shared linguistic similarities and ethnicity that the lead characters share is one of the fundamental components of what helps to develop their bond in the first place (Ott & Keeling 2011). As compared to a litany of other movies where attraction and friendship come as a result of some noble action or love at first site, the connection that develops between the two is solely the result of the levels of communication that develop as a result of the unique setting that each of these otherwise unfulfilled yet equally dissimilar individuals experiences. Though one might be quick to point to the fact that the central plot of the story revolves around the relationship that develops between two Americans within the capital of Japan as a function of cultural attraction in a sea of foreigners, the fact of the matter is that a different subplot exists as well. The filmmakers ultimately present to the viewer two otherwise disjointed and highly different main characters. Bill Murray’s character represents that of a middle-aged unfulfilled businessman whereas Scarlet Johansson’s character represents the drastically younger, yet equally unfulfilled, wife of a photographer. In this way, the subplot of communication that exists is the way that these two individuals; albeit drastically different and bearing little if anything in common other than their ethnicity and unhappiness with the current state of affairs seek to bond and share intimate moments throughout the course of the film. In this way, the levels of communication are contrast as something that is both common to both characters and unique to each in their own way. For instance, rather than focusing upon what traditionally binds two individuals together in friendship or love, the filmmaker seeks to portray a situation in which both Johansson and Murray are drawn to each other out of a shared bond that is built not necessarily upon attraction but rather upon shared fear mixed with the relative ease of communication that they share as a function of the setting that the movie takes place within. In this way, a type of cauldron of communication is developed within which the viewer can seek to analyze and understand more unique and dynamic factors of the way in which humans interact than would typically be possible in a setting in which hundreds or even thousands of ethnically and linguistically similar individuals vied for the attention and communication of one another. A further communications construct that the filmmaker presents is the way in which each of the main characters seeks to build a notion of “home” within the foreign culture that they find themselves immersed within. Subtle nuances of this “homing” desire can be seen in the way that Johansson’s character makes and hangs origami designs from her hotel ceiling whereas Murray’s character seems content to merely wander through the motions of everyday life seeking to dull the boredom that exists for him both at his own home and within his home away from home. This “homing” instinct that ultimately exists within each and every individual placed within a foreign environment plays a powerful role on the way that the communications process develops between each of the main characters. Indeed, it is likely that this “homing” instinct has one of the largest impacts upon the way that the communication between the two participants grows throughout the movie. In effect, the shared language and shared emotions that the characters are able to expound upon and discuss with one another helps to build the relationship that ultimately ensues. A final determinant to the communication that is built between the two characters is the backdrop and setting of the city itself. Without paying particular attention t the fact that both foreigners are many miles away from what they consider home, the sheer enormity and mass of humanity is presented to the viewer as something that is so overwhelmingly complex that a sense of normalcy and intimacy is directly desired (Ansen, & Setoodeh 2006). This desire to form a personal and intimate; albeit not necessarily sexual relationship is one of the most powerful mechanisms that seeks to encourage the level of communication that eventually evolves between the characters. Whereas many films and stories have sought to utilize the same tactics, the setting itself and the feelings of fear and abandonment within a crowd of people helps to highlight the importance of the way in which such an environment evokes feelings and communication responses that would not otherwise exist within the realm of human behavior and/or thought processes. Yet another interesting aspect of the relationship subsequent level of communication that develops between the two characters is the way in which the level of communication grows throughout the course of the film. Rather than merely fleeing the constraints of the given environment and finding shelter within the comfort of the level of communication that the two characters share, the level of communication that is built allows for personal depth and growth with relation to the otherwise foreign environment that has otherwise been discussed to this point (Iwabuchi 2008). In this way, as the characters begin to share and communicate their own fears and desires on a more personal and intimate level, their seeming and supposed fear for the outside world which has hitherto been presented as foreign, hostile, and unknown also decreases. Where in the beginning of the film the two had made random meetings within the safety of their hotel lobby and bar, as their trust for one another deepens and their communicational bond grows, so too does their engagement and desire to discover the complexities of the environment within which they are both sharing. As a function of this, the two begin to explore the city and society/culture which was hitherto presented as something of an oddity that only served to push the two together. In this way, communications in this movie can be seen as a type of liberating force which encourages one to embrace the commonalities and differences and seek to explore them with a level of confidence. As has been stated, the level to which the film itself focuses upon the inability of two foreigners to communicate within a foreign land is not the ultimate defining aspect of how communications within the movie develop. Rather, the combination of the levels of fear, isolation, and complex emotional distress that defines each character serve as the backdrop to the way in which they are both encouraged to explore the friendship and closeness that the other can offer them within the given context. As such, the filmmakers use the setting of a foreign megalopolis as a way to enhance and underscore these aspects. References Ansen, D., & Setoodeh, R. (2006). LOST IN TRANSLATION. Newsweek, 147(9), 52-54. Iwabuchi, K. (2008). Lost in TransNation: Tokyo and the urban imaginary in the era of globalization. Inter-Asia Cultural Studies, 9(4), 543-556. doi:10.1080/14649370802386446 Ott, B. L., & Keeling, D. (2011). Cinema and Choric Connection: "Lost in Translation" as Sensual Experience. Quarterly Journal Of Speech, 97(4), 363-386. Read More