- Jun 7, 2002
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It opened #10 in the box office, but in truth it pwned the rest of the weekly offerings. Here's my take on it:
While the fusion of comedy and drama is not exactly standard fare for contemporary cinema, it's far from avant garde. All to often though the combination is a concious one. It is the contrast that creates the flavor of the film.
Lost in translation is an entirely different animal. In this film, comedy and drama exist simultaneously. Even the scenes that are obviously meant to be laughed at (eg: the awkward prostitute) are weighed down by this sort of existential presense that pervades Murray's smiles and conversations. It's not the barren amorality of "way of the gun", or the extreme postmodernism of "natural born killers". It's a finely crafted dialectic of hope and loneliness that seems to naturally occur in response to the alienting surroundings of Tokyo. Ultimately the simultaneity of comedy and drama gives us both Murray's finest performance, and one of the most subtlely balanced romances ever shown on screen.
While the fusion of comedy and drama is not exactly standard fare for contemporary cinema, it's far from avant garde. All to often though the combination is a concious one. It is the contrast that creates the flavor of the film.
Lost in translation is an entirely different animal. In this film, comedy and drama exist simultaneously. Even the scenes that are obviously meant to be laughed at (eg: the awkward prostitute) are weighed down by this sort of existential presense that pervades Murray's smiles and conversations. It's not the barren amorality of "way of the gun", or the extreme postmodernism of "natural born killers". It's a finely crafted dialectic of hope and loneliness that seems to naturally occur in response to the alienting surroundings of Tokyo. Ultimately the simultaneity of comedy and drama gives us both Murray's finest performance, and one of the most subtlely balanced romances ever shown on screen.