Lost in Translation by Suzanne Ferriss is a fascinating and insightful analysis of the award-winning film directed by Sofia Coppola. The book takes a close look at the film's narrative structure, themes, filming techniques, and characters to offer readers a deeper understanding of this critically acclaimed movie.

The author mirrors the film's structuring device of travel, taking readers on a journey from planning to departure. She details the complexities of filming in Tokyo without permits, explores Coppola's allusions to fine art, subtle color palette, and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, both together and alone.

Ferriss also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: "Coppolism." She argues that Lost in Translation is not only a classic film but also classic Coppola, with its signature blend of introspection, melancholy, and intimacy.

The book is well-researched, and the author's writing is clear and engaging. The analysis is thorough and nuanced, making it a must-read for anyone interested in film studies, Japanese culture, or contemporary American cinema. Ferriss's insights into the film's themes of loneliness, alienation, and the search for human connection are particularly compelling, and her analysis of the characters' emotional journeys is insightful and thought-provoking.

Overall, Lost in Translation is an excellent book that offers a fresh perspective on a classic film. It's a must-read for anyone who wants to delve deeper into the themes, characters, and filmmaking techniques behind one of the most critically acclaimed movies of the 21st century.

Fab book for film enthusiasts!

Thanks so much to NetGalley and the publishers for letting me read an advance copy of this book in exchange for my review.

A great look at this modern classic film, with tremendous amount of knowledge about the film, the contributors, and analysis that doesn't get too technical, but gives you plenty more to think about when watching or re-watching the film.

Source of book: NetGalley (thank you)
Relevant disclaimers: None
Please note: This review may not be reproduced or quoted, in whole or in part, without explicit consent from the author.

I snagged this off NG out of pure curiosity and “it was there so I asked for it”-ness. I think it’s part of a wider series, all by different authors, deep diving into various landmarks of cinema or whatever. And, look, cards on the table, I know nothing—absolutely nothing—about film. Like, I watch them? But I love close readings and I’m deeply fond of Lost in Translation (for its problematic aspects and the Bill Murrayness of it all) so this slim but comprehensive, and stylishly written piece by Suzanne Ferriss was kind an instant win for me.

Ferriss brings expertise to bear on the film that I couldn’t bring for myself, while at the same time keeping her tone light and accessible throughout. Doing this kind of analysis in a way that comes across as neither condescending nor obscure is a whole art in itself—and I personally felt this whole volume was a masterclass in it. Given the film is so much framed around ideas of journeying, emotionally and spatially, the book is structured the same way, starting with ‘trip planning’ and ending with ‘departures’. As devices go, it’s probably a little on the nose but, in the right nasal context, on the nose is exactly where you want to be. It covers the background to making the film, the story of the film itself, the making of film including the music and the cinematography and the use of locations, and the final section covers the film’s reception. It includes references to interviews etc. with Coppola and the cast, but never enough to be overwhelming.

The only thing that kind of … I wouldn’t say it didn’t work for me, but that I felt ambiguous about, was that I wish the book had come across slightly less defensive on the subject of Lost in Translation’s orientalism or potential orientalism? And, look, this is difficult because the film came out a long time ago, this is out of my lane, and—while I think it always behoves us to be aware of how things might come across to people who aren’t us—I don’t think it’s … necessarily meaningful or useful for critics and consumers to view texts solely through the lens of how they reflect or fail to reflect current discourse. Plus, if I pick too hard this book’s exploration of the portrayal of Japan and the Japanese in Lost in Translation, it’ll essentially be a white person dinging a work of analysis written by another (I presume white? At least not Japanese) person about a film from 2003 written and directed by a different white person. That’s … that’s a lot of white people getting up in Asia’s grill, and that is not good.

The final section of the book brings together a range of critical perspectives, positive and negative, and some from Japan (and apparently some Japanese critics and viewers do appreciate the film), and I think it does attempt to be even handed, but I also personally found a bit too quick to … not excuse exactly but re-interpret aspects of film I would be personally inclined to find inescapably orientalist as thematic. For example, regarding the notorious sex worker scene, Ferriss writes:

<blockquote>Revisiting the scene in a contemporary context, the play on accents may appear offensive. In the context of the film, however, the scene is far more complexly situated, foregrounding multiple levels of miscommunication, stereotyping and, above all, the problematics of celebrity.</blockquote>

But … is it though? Is it not just foregrounding multiple levels of stereotyping in a way that doesn’t deconstruct them at all? And it’s also not the only time the film decides to make a big deal out of the fact sometimes Japanese speakers transpose their Ls and Rs. Like is that a thing we’re still trying to excuse in 2023? How well does anyone think I, a British person, speak Japanese? And I think I could probably see Ferriss’s point if this scene stood alone in the film. But it doesn’t: Japan is constantly being shot disorientatingly and shown through windows, nearly everything about the hotel itself is shown to be alienating and/or uncomfortable (like ill-fitting kimonos or too-small showers or lifts full of Asian businessman who are shorter than is typical for western men: why would there be so many Asian businessmen in a lift in a tourist hotel?), and the broader elements of Japan and Japanese culture that the film showcases are either serene temples or cartoonish talk shows. And I do get that, in general, Japan is used to reflect the emotional context of the central characters in the film. But, um, Japan is a real place? Where people live? Who, y’know, presumably think it is normal to live there? Rather than existing as a metaphor for white western psychological dislocation?

Anyway. Anyway. I completely see that focusing on those aspects of the film was not necessarily within the remit of this book, nor appropriate for Ferriss to do (in the same way, it’s not super appropriate for me to try and untangle some of it now). I think for me, though, I feel the book could have steered a slightly more neutral course through its exploration of the film’s reception—in the sense that while it is willing to present alternative, more critical readings, it is also inclined to re-frame them, something it doesn’t feel the need to do for unalloyed positive commentary.

All of which said, I’m sure if you’re already a film buff, there’s nothing here that’ll be particularly revelatory for you. But I think it’s sufficiently engagingly written (there’s a throwaway line about Odysseus being the first celebrity on tour that really tickled me) and undemanding in terms of time commitment that I feel comfortable recommending it anyway. For me, though, as a total film pleb, I sincerely appreciated the book, and it made me want to watch Lost in Translation again, with greater understanding and a more informed perspective.

This is a really thorough look at the film Lost in Translation, with every titbit of information you could want to know. It is not a critique but more of a guide to what's happening in the film and why those choices were made. It also looks at the films negative and positive feedback and comments on the thoughts behind this, and also delves into the behind the scenes goings-on. It contains a generous amount of film stills. I can see this being helpful reference to a film student as I would have done back in my college days.

Thank you Netgalley and the publishing house for allowing me to read and enjoy this title.
This was a different genre from what I normally read I thoroughly enjoyed it

Suzanne Ferriss, Lost in Translation, Bloomsbury Academic, 2023.

Thank you, NetGalley and Bloomsbury Academic for providing me with this uncorrected proof for review.

Lost in Translation is a BFI Film Classics publication aimed at ‘introd[ucing]. Interpret[ing] and celebrat[ing] landmarks of world cinema’. Suzanne Ferris has fulfilled this task in an engaging and through manner, the detailed information she assembles giving the reader a valuable analysis of the film.

I particularly relished the attention given to the screen shots and have made it a mission to return to the film with this additional information at hand. Although the film can be appreciated without it, what a wealth of understanding this analysis brings to a film that does not give the audience the ‘grander, fiercer – danger’ demanded by critic David Denby, but dares differently. Ferriss does not ignore another source of criticism, the treatment of Japan and Japanese people and culture – there is a comprehensive consideration of this feature in the last chapter which covers reception of the film. This is a chapter immensely worthwhile reflecting upon.

The chapters cover the focus of the film: Trip Planning, Arrivals, Accommodations, Sights, Departures and Reception. There is an introduction that places Lost in Translation amongst the other films Sophia Coppola has completed - full length and short films, videos, commercials, an opera and a Christmas special. We are introduced to the significance of the screen shots through the introduction. This places the reader at the beginning and end of the film before taking them through the process through which Coppola brings her idea to fruition - a process that is developed not only by Coppola but by Ferris’s rendering of her analysis of Lost in Translation. The stars are introduced – but at the same time the chapter headings ensure that the reader acknowledges what Coppola is doing. Ferris keeps in our minds that the film is about planning, arrivals, sights and departures, not to be forgotten while she tells us about Bob Harris and Charlotte, their backgrounds and aspirations.

The book includes an informative bibliography, comprehensive notes for each chapter; a list of credits; lists covering additional music and Japanese casting; TV clips: and a host of photographs. Ferris has cleverly assembled the material into a work that gives the reader an excellent understanding Coppola’s aspirations and implementation of these in Lost in Translation.

I received this book as a free eBook ARC via NetGalley in exchange for an honest review.

I watched Lost in translation in 2005 and since then, it became my favorite movie. I've rewatched it so many times, immersing myself in its world, and truly it's a film that means a lot to me. While I'm watching, it makes me forget about everything else and makes me dream about living an experience in Tokyo like Charlotte's so many times (although it's still in my bucket list).

Through the pages of this book, Suzanne Ferris take us on a trip to Tokyo again, analysing every aspect of the film, from its beginnings on the mind of Sofia Coppola, to its cast, soundtrack (which is sometimes considered the third main character), and everything about its filming and production.

As a long time fan of the movie, I knew many facts about it, but I discovered some new information. The analysis of the scenes and the relationship of the two main characters, Charlotte (Scarlett Johansson) and Bob (Bill Murray), was good, although I expected a deeper analysis, but it was okay. It has some passages that made me rethink about some parts of the movie and my interpretation about them.

In conclusion, it was an interesting reading and even though I got the free eBook ARC, I've bought a physical copy because I'd love to have it on my bookshelf alongside my two Lost in Translation DVD's.

Short, swift look at Lost in Translation and some of the connection to Coppola's other features. There is a mix of going through the film chronologically, teasing out the inspiration for certain images and scenes, discussion of the sound design and a response to the film's legacy (particularly recent accusations that it can be seen as reductive or racist). All in all, I enjoyed this though I wish it was a bit longer and went into greater depth in all of the categories listed above.

A new title in the BFI Film Classics series. It's a must read for all fans of the cult film Lost In Translation. It covers everything, backstory, inspiration, technical problems, how scenes were created and insider stories. The book is only 112 pages long, but the pages are packed - no waffle of filler. The book is interesting and I think would make a great gift for anyone who loves film, even if this is not their favourite film. I would definitely recommend this book to anyone looking for a gift for someone when you are not quite sure of their literary tastes.

Brilliant!

‘Lost in Translation’ is one of my fave movies. I watch it at least once a year and never tire of it. Ferriss’ superb analysis gives gravitas to my many reasons for admiring it.
Bill Murray and Scarlett Johansson are just ideal in their portrayals of two people who accidentally meet in Tokyo.
The improvisational tone of the movie, the talent of Murray and Johansson is noted.
Sofia Coppola’s genius is applauded—her focused application of what she determines will work, coupled with her intuitive understanding.
As Ferriss posits,
“Lost in Translation ingeniously and inventively manipulates cinematic conventions. This is the key to Coppola’s originality and to the film’s designation as a classic.”
I love this summary, “the film represents [Charlotte and Bob’s] unsettled emotional states as geographical and cultural dislocation: they are lost, physically and psychologically. [They] develop an intimate connection during their stay at the Park Hyatt hotel and shared experience of Tokyo nightlife. It could be a travel film, perhaps of the ‘brief encounter’ variety, or a May–September romance, or a romantic comedy.”
I seconded a further observation,
“The film’s opening is a bold assertion of cinema’s status as an art, like the painting it references, or literature, which similarly relies on the audience’s imaginative engagement to find meaning – to connect scenes, to make sense of disconnected fragments of information, to link them through memory.”
Ferris’s takes us on a trip, a traveling along the same route that Coppola took in the filming. Exciting!
Her treatise is just so filled with discerning insight about the movie that as I underlined quotes, I realized I was in danger of selecting the whole book.
A “must” for anyone who feels an appreciation for Lost in Translation. A pathway to further discoveries and a fascinating read.

A Bloomsbury ARC via NetGalley.
Many thanks to the author and publisher.
Please note: Quotes taken from an advanced reading copy maybe subject to change

This book is a prescient analysis of Lost in Translation.

The discussion of how the movie’s vibe was created is fascinating. Lost in Translation is above all, a movie that evokes specific feelings of aloneness and alienation. Reading the details of how meticulously each scene was shot gave me a new appreciation for Sofia Coppola as a director. She was able to distill a common human feeling into a powerful essence and then blessed us with this movie.

I recommend this book for anyone who is a movie buff. It describes Coppola’s technique in a way that will be of great use to an aspiring filmmaker.

Lost In Translation is one of my absolute favorite movies, and this book added a new layer to that love. This book delved deep into aspects of the story and filming that I had never noticed or knew before. I have a new understanding of this moving, the beautiful filming, and the minute decisions that were made in creating this work of art.

Highly recommend if you love film and want to know more about this movie.

Thank you NetGalley and the publishers for a digital ARC of this book.

Just an excellent breakdown of one most significant films from this century. It inspires me to do my own film writing.

Pretty decent for a big Lost in Translation fan. Casual fans should probably skip it though, unless you want a lot of in depth details about every aspect of Lost in Translation.

Lost in Translation is one of my favourite movies, and in this volume Suzanne Ferriss offers a wonderful exploration of the film, which incorporates behind-the-scenes stories with a detailed analysis of different key moments, the use of colour and music and where the film sits within Coppola's collection of works. It was a short and quick read but packed full of fascinating information. It's definitely worth a read if, like me, you adore this movie and are interested in a deeper analysis of it as a text. I am giving the book 4.5 stars.

I absolutely loved reading this book. I was completely drawn into the topic and could not stop reading it.

Beyond excited to have this! This was such a monumental movie and I know people always want to know more about it! Will be sharing more thoughts soon, but I wish they would do an in-depth look at more movies like they did with this one as well! Love Kate Winslet!