Bob Harris (Bill Murray) and Charlotte (Scarlett Johansson) are two Americans in Tokyo. Bob is a movie star in town to shoot a whiskey commercial, while Charlotte is a young woman tagging along with her workaholic photographer husband (Giovanni Ribisi). Unable to sleep, Bob and Charlotte cross paths one night in the luxury hotel bar. This chance meeting soon becomes a surprising friendship. Charlotte and Bob venture through Tokyo, having often hilarious encounters with its citizens, and ultimately discover a new belief in life's possibilities. Shot entirely on location in Japan, Sofia Coppola's Lost in Translation is a valentine to the nature of close friendships and to the city of Tokyo. Ms. Coppola's film, from her original screenplay, contemplates the unexpected connections we make that might not last - yet stay with us forever.
Like a good dream, Sofia Coppola's Lost in Translation envelops you with an aura of fantastic light, moody sound, head-turning love, and a feeling of déjà vu, even though you've probably never been to this neon-fused version of Tokyo. Certainly Bob Harris has not. The 50-ish actor has signed on for big money shooting whiskey ads instead of doing something good for his career or his long-distance family. Jetlagged, helplessly lost with his Japanese-speaking director, and out of sync with the metropolis, Harris (Bill Murray, never better) befriends the married but lovelorn 25-year-old Charlotte (played with heaps of poise by 18-year-old Scarlett Johansson). Even before her photographer husband all but abandons her, she is adrift like Harris but in a total entrapment of youth. How Charlotte and Bill discover they are soul mates will be cherished for years to come. Written and directed by Coppola (The Virgin Suicides), the film is far more atmospheric than plot-driven: we whiz through Tokyo parties, karaoke bars, and odd nightlife, always ending up in the impossibly posh hotel where the two are staying. The wisps of bittersweet loneliness of Bill and Charlotte are handled smartly and romantically, but unlike modern studio films, this isn't a May-November fling film. Surely and steadily, the film ends on a much-talked-about grace note, which may burn some, yet awards film lovers who "always had Paris" with another cinematic destination of the heart