Get lost in this
A middle-aged man worn by the inescapable tedium of everyday life and marriage. An uncertain newly-wed in her twenties struggling to face the life of marriage and tedium ahead of her. The bustle of Tokyo city. A director has to be daring, assured and undeniably talented to create an entertaining film from such a simple concept and Coppola’s collision of these separate worlds is completely compelling. Don’t bother buying the popcorn for this one: as soon as the camera starts rolling and thrusts you into the whirlwind of lights and colour that is the perfectly selected Japanese setting, that first piece will remain floating in front of your open mouth until the close.
Bill Murray, usually associated with comic capers such as ‘Ghostbusters’ and ‘Groundhog Day’, is surprisingly apt for the quiet, meditative role of Bob Harris, a previously successful actor who is disgusted to find himself endorsing whisky in painfully cheesy advertisements. Initially disinterested in exploring Tokyo, Harris spends hours in his hotel bar slowly sipping said whisky, and it is here that he meets similarly disillusioned soul, Charlotte, played by rising star, Scarlett Johansson . Married to a busy fashion photographer out on a shoot, Charlotte is left alone for a few days and seems drawn by an invisible magnetism to the quiet actor. Although at entirely different stages in life, the connection and affinity between the two characters is powerful and the rapidly developing relationship feels tender and real.
Having entered Tokyo at the same point as both Harris and Charlotte, I felt entirely enveloped in their bubble of bewilderment and isolation from the high-speed and somewhat bizarre lifestyle of karaoke booths and sushi bars. A shaky, handheld-camera technique was impeccably applied to emphasise the pace of life in Tokyo and contrasted beautifully with the moments of quietness in hotel rooms. Perhaps the defining moment of the film is the touching reality of Harris’ caress of Charlotte’s bare foot whilst in her bed, which is heightened by the backdrop of dreamlike strangeness that is Tokyo. It is simple images such as this which create such a believable relationship, centred on a palpable tension between sexual attraction and father-daughter compassion.
But what perfectly ices the cinematic cake is the fantastic moments of humour amongst the all the gentleness. Murray’s comic talents are put to use in Harris’ dry reactions to his experiences of the world of surreal Japanese television (look out for the Tokyo equivalent of our beloved Graham Norton) and photographers hankering for a look of ‘more intensity’, that provide the laughter amongst the more quiet tone of the film. Few films can boast having it all, but this one certainly does, and it is refreshing and encouraging to see a female director achieving recognition and success in Hollywood. A stunning success for Sofia Coppola, one which should have those little golden men falling at her feet.
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