Coppola uses Mise-en-scene as a means to stress the subtle moments within a sequence to establish thought provoking moments between characters and setting. Lost in Translation (2003), is a modern love story set in Tokyo, which explores the platonic relationship between Bob (Bill Murray), an aging movie star experiencing a midlife crisis, and Charlotte (Scarlett Johansson) a newlywed college graduate whose neglected by her celebrity photographer husband. Coppola conveys themes of isolation and depression using Tokyo, to create a cultural divide and leave characters in a suspended animation which emphasises the pathos within our protagonist’s relationship.
“The overall design of a set can shape a story”, coppola crafts Tokyo as its own character who we learn more about in relation to what we actually know about Bob or Charlotte. Coppola uses her setting to manipulate and modify the atmosphere of sequences to produce a sense of loneliness in a lively surrounding; often reflecting a character’s state of mind. Unlike the majority of films which can be entirely fabricated within a studio, Coppola filmed on-location because of her history with Tokyo; In an interview with The Daily Beast, Coppola stated “I think it’s my most personal movie because it’s about what I was going through at the time…. I spent a lot of time in Tokyo in my 20s… I always thought about the little cultural differences”. With this in mind, the on-location filming may feel vaguely documentary-like; convening a sense of voyeurism which resonates differently from other romance films; it feels less like a journey and more like gentle memory or an intimate rite of passage.
In figure 1, Charlottes wanders through the energetic and cramped city which evokes a claustrophobic locale. Despite the overwhelming and unfamiliar aesthetic there is still a sense of her despair and isolation residing beneath her naivety and curiosity. Additionally, Charlotte’s position in relation to the objects and crowd within the frame suggests that, she is an outsider who is still alone, generating a void-like atmosphere. Her exploration visually denotes she is pursuing new experiences, however it connotes her need for a reciprocal relationship; offered in the form of Bob. By using telephoto and widescreen lenses seen in figure 1 (and Figure 2), audiences are shown the fore and backgrounds blurred and out of focus which modifies the perspective. Coppola is able to influence a viewer’s preferred reading of her narrative through the use of these techniques; when used in tandem with the diegetic sound of the traffic and pedestrians, moments such of these feel less like scene in a film and more like a fond memory. If we continue to examine figure 1, it is worth mentioning that throughout this sequence Charlotte is often situated directly facing the camera. This provides viewers with the feeling that they are looking right at her or vice versa. Coppola’s use of frontality allows the set to become more authentic and present us with a sequence constructed as if we are a reflection of charlotte; making the narrative that much more engaging to audiences because we feel emotionally invested in Charlotte who represents a western values and ideologies.
Another brief element of setting is space. Lost in Translation utilises deep space (as seen in figure 2) when there are essential elements within a frame that are located in the fore and background of a shot (similarly to figure 1). It is used to build distance between objects and characters, as well as any obstacles that exist between them. Spacing is often used closely within setting and in relation to lighting as the space of a shot or take can greatly influence how we interpret takes and sequences. Additionally, figure 2 adopts an ominous and vulnerable aesthetic by using a vigilante shadow effect which creeping around the frame of the shot (figure 2). Charlotte silhouette gazes out over the Tokyo skyline (perhaps a metaphor for bird in a cage) and we as viewers are situated in the dark. As omniscient viewers, we can interpret her loneliness although one may argue that these moment are crucial in her development as a character because it ultimately results in her growing wiser and stronger as an individual. as a side note, it is almost ironic that this luxury hotel (a place of leisure) manifests into a tranquil purgatory-like setting where the two share their insecurities.
Focusing on performance, it is apparent that Charlotte has been pulled into an unusual world overflowing with idiosyncrasies between western and eastern culture. Coppola’s constructs charlotte as a naïve and curious character because during the writing process she aimed to capture a distinct sense of “melancholy romance”. Charlottes movements and gestures are almost childlike in a sense that she is rather inquisitive when experience new things. For example, she’s often wide eyed and plain faced when exploring Japan (as seen in figure 3) and the same can be said when her she observes the activities in the hotel. While it is obvious that she is not a member of the Japanese culture, there is a gentle progression in her character she’s begins to integrate and experience tranquillity which suggests a positive outcome for her.