![]() Johansson’s work so impressed the jury at the recent Rome Film Festival that they gave her their best actress award. It doesn’t hurt that Jonze has written Johansson a more complex character, with better lines, than those played by Amy Adams and Rooney Mara. Progressively flirtatious, sympathetic, neurotic, yearning and callous as the OS Samantha, it’s a vocal tour-de-force by an actress whose in-person performances have often seemed self-conscious on the big screen. But we never actually see her in the movie - the bodacious actress provides the voice of the title character, a computer operating system who seduces a writer (Joaquin Phoenix) going through a rough divorce. Scarlett Johansson gives what may well be the performance of her career in Spike Jonze’s “Her,’’ opening Friday. Scarlett Johansson is 'too fragile' for social media: 'I'm a delicate flower' Gwyneth Paltrow reveals feelings about doing another Marvel film Scarlett Johansson felt 'hopeless' after losing dream role in Oscar-nominated blockbuster As a result, it's a work of considerable power and pathos.Exposed bra trend gets boost from celebs: 'Intentional wardrobe malfunction' As a result, the film is as personal as it is universal - which is what makes it such a joy to watch.Īcutely judged from beginning to end, Lost In Translation transcends its initial culture clash comic riffs to evolve into something altogether more moving by the end. Undoubtedly her first-hand experience of actors - be they fading or on the rise - comes into play, as well as her own young marriage to fellow filmmaker Spike Jonze. As the title suggests, the prime focus is that of miscommunication between individuals - both linguistic and emotional - and it's a theme that unifies the film as a whole. Using both the tranquil and chaotic land- and cityscapes of Japan to suggest the characters' emotional states, she is never heavy handed in this approach, always keeping the camera still and reserved. Working from an economic script that shrewdly and amusingly captures the alien quality of Japan as seen through Western eyes, Coppola ensures that the clean, crisp visuals complement this premise. ![]() In Johansson, he finds the ideal sparring partner, as she delivers her finest screen performance to date - full of understated angst, sadness and sorrow.īut the real star is Sofia Coppola. His comic timing (as well as his impersonation of Roger Moore!) has never been better but more importantly the pain etched on his world-weary face is evident for all to see. Murray, already undergoing a career renaissance following his collaborations with Wes Anderson in Rushmore and The Royal Tenenbaums, is masterful here. But will they consummate their evident feelings for each other? As Charlotte draws closer to Bob, she confesses: "I just don't know what I'm supposed to be," while he confides "I am lost". Charlotte, meanwhile, has evidently made the wrong choice in John, who immediately flirts with a Hollywood bimbo - in town to promote a kung-fu flick made with Keanu Reeves called 'Midnight Velocity' - when they encounter her in the hotel lobby. While Bob is getting paid $2 million to humiliate himself (notably on a chat-show with "The Johnny Carson of Japan"), he confesses the trip is "to get away" from his wife, who is bugging him about home furnishings. With John out of Tokyo shooting a pop band, Charlotte and Bob strike up an alliance, and it soon becomes painfully clear that neither character is happy with their lot. Married for two years to John (Ribisi), a hip celebrity photographer, Charlotte is accompanying her husband while he is on assignment in Japan. Put up in a luxurious hotel, he comes across the young-but-demure Charlotte (Johansson) in the bar. Now reduced to endorsing Japanese whisky, he finds himself in Tokyo on a short trip to shoot a commercial. ![]() The film centers on Bob Harris (Murray), an actor with a reputation of some note from the films he made back in the 70s. ![]() ![]() From its opening shot, of Scarlett Johansson's rear-end covered in see-through pink panties, the film throws a veil over sex itself, preferring to concentrate on feelings rather than fumblings. If anything, it's a coy, modest work of startling beauty. After the considerable maturity and promise shown with her debut feature, The Virgin Suicides, Sofia Coppola returns with a sophisticated sophomore effort that remains significantly different from its predecessor. ![]()
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