With tepid reviews of some of our favourite movies and shows like THE SIMPSONS and BRIGHTON ROCK under our belt, Sidey feared the worst as we sat down to review a film which features his favourite ever sequence committed to celluloid, Sofia Coppola's 2003 LOST IN TRANSLATION. Bill Murray is perfectly cast as wearied movie star Bob Harris who finds a connection with unhappy college graduate and newlywed Charlotte (Scarlett Johansson) when in Japan to film an advert for Suntory Whisky.
LOST IN TRANSLATION is a sometimes sweet and often melancholy experience exploring the cultural differences between Japan and the Western World in order to discuss its wider themes about loneliness, alienation, the search for human connection and self-discovery, themes woven subtly into the fabric of the film, creating a rich tapestry of ideas and emotions that resonate long after the credits roll. A crucial element of the films enduring success is it's incredible soundtrack, subtle and at times understated, with songs playing softly in the background or layered in with ambient sound effects helping to create a dreamlike mood and atmosphere. Lately we've taken to recommending everything just for the fun of it so it probably means very little when I say this comes highly recommended. But it does.
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Until next time, we remain...
Lost In Translation
Reegs: Sidy. We already know that this is one of your favorite movies of all time that we are talking about.
Sidey: Well, maybe after re-watching it, I've changed my opinion. We shall See,
Cris: that is a strong statement.
Reegs: Yeah. And surely not as well.
We are talking about lost in Transla.
Sidey: Yeah. It wasn't gonna be lost. We were gonna do all sorts of other things, but we just couldn't find a way to make that work, could we? So we inspired by all the lost stuff from last week and beyond. We changed the theme of the entire week to lost. Yeah. So this is lost in translation and I was just bit hesitant because as you say, this is right up there for me, or certainly was in the past and when we've.
things that we really like in the past. Yeah, I'm thinking Simpsons. It's been a fuck up. So we'll try and do this justice.
Reegs: Yeah. We've got also got Pete and Chris here tonight. I'm slightly concerned that this movie. Having kind of essentially no narrative events really of any, you know, to, to speak of will, will succumb to the Patterson effect for Peter.
So let's see.
Sidey: deeply racist man as well. So
Reegs: Yeah, there's that as well.
Pete: Well, I mean, more happened in the first 30
Pete: of this than happened in Patterson. In fact, the opening of the, of the film had me immediately hooked in
Sidey: it's 36 seconds. The
Pete: yeah, 30, 36 seconds, which, which helped me break my record.
Reegs: Yeah. I often talk about the first shot of the movie being an important one for us to talk about. So , who wants to lead us in with this one?
Pete: Well, yeah, I loved
Sidey: It's Scarlet Johansen. Behind in a pair of sheer pink panties. Yeah. Just a still of that, and it's inspired by an artist
Reegs: a painting that you see later on in the movie.
Sidey: How do you pronounce his surname?
a c e. R e cair or
Yeah. Anyway, that person, yes, you're right. We do see a photo a painting of his later on, but it's just yeah, it's just a stationary image of her lying in bed, but, you know, very, just distinctly her ass.
Sidey: And she was 17 when she made this.
Reegs: was she, yeah,
Pete: Bit old for me.
Sidey: I was gonna say, so
Pete: I was just getting in there. Preempted strike
Sidey: Yeah, apparently she was very nervous about doing that. And so Sophia Colo did it first in the same outfit, right. To ease her nerves. So, and it went, I suppose,
Pete: but that didn't get like, put in the
Sidey: No, it's deleted scenes maybe. I dunno. I think it's the set, it's just doing it on set when you are a teenager, cuz she, oh, I should have looked at her filmography.
But I had seen her in Ghost Town and I haven't seen Black Beauty, but she was like a proper child in that. So she was, you know, she wasn't the superstar that we know her as now. She was still on the up and up, but know, people knew that she was
Cris: She was still, she was still a kind of celebrity child in a way. She was still already an, an actress in her own right. Not, not a, not for a leading role,
Sidey: stuff, you know what I mean? She wasn't a household name necessarily. Yeah. At this point.
Pete: Yeah. Well, I couldn't believe that this, this 2003. Yeah. . And so anytime I hear Blossom translation, I'd never seen this film. . I, you know, I guess if I'd really sat down and tried to work it out, it would've, you know, be, become more apparent.
It was like that old, and when I say that old, it's not that it's not, you know, ridiculously old or anything, but I would've thought in my head our last 10 years or so I've, I've heard way more about it since I've been on this pod because of Ye side
Sidey: Mm-hmm. Wow. 20 years old
Pete: and the references, but yeah, 20 years old Yeah.
Was a surprise to me.
Sidey: And so yeah, it kicks off with that shot. And then we're introduced to Bob Harris. Yeah. It's
Reegs: ride because Cab brides bookend the movie in and out, in and out of Tokyo.
Sidey: the more and more that I've seen this film, I start questioning whether it's completely linear because is that him?
It could be him leaving the sea because he's, he's sad. He looks when you, when. Like watched it as many times I have. And you start thinking too much about it because there's a scene there wrong where she's on the phone and she talks about, oh, I did Ichibana. But she doesn't do that till after the phone call.
And it's clearly the first time she's done it when she does the ichibana. Anyway,
Reegs: All right.
Sidey: probably not that
Pete: that I took, I took it that he was, he did, right? Probably
Sidey: He was just fucking knackered. Yeah. airport.
Pete: He's jet lagged. He's tired. And when you say he was like, you know, he sort of like looked quite sad. I mean, he's got a sad face
Sidey: hang dog,
Pete: not just in this film, but in life in general.
I think his part of his thing is that he's, And part of the, like the, the comedy is that he's got this kind of like sad sack look about him all the time,
Reegs: It's a certain like weariness from, from the world. Yeah, yeah,
Sidey: yeah. They both have that in this, but yeah, no, I, I think act, you know, being completely, you.
Honest it is him just arriving and he's looking at all the signage and everything and he sees himself. Yeah, that's the other thing is he sees one of his adverts for santore whiskey and yeah, he gets to the hotel and he is introduced and you start seeing this Japanese just like crazy formality of everything that they have to do is
Reegs: We're sort of endless bowing and scraping and reverence to him and his position and authority.
Sidey: he's in, he's introduced to this group of people who, who are there to welcome him. But then every single person that works in the hotel is, ah, Mr. Harris, free, you know, welcome me. He's going, he's already going. And be like, fuck, now leave me alone, sort of thing. Yeah. Yeah. Charlotte is Scarlet Hansen's character Charlotte and Bob. They don't actually meet each other till it's about half an hour, maybe just an over half an hour into the film. So there's a couple of moments where they share an elevator. Yeah. Together. He, and he clocks her and,
Reegs: Well, we've already seen him struggling with his jet lag in the elevator earlier, towering above the other Japanese men in there.
And then, yeah, he clocks her. It's also, but
Pete: a couple of early references to things not being. You know all that well at home as well. So
Sidey: The moment he gets to the hotel, he's, he's got a fax, like a really passive aggressive fax from his wife saying, you've missed, you've forgotten the,
Reegs: it's his son's
Sidey: son's your son's birthday.
I'm sure he won't mind or something.
He won't, you know. And and later on he gets another one about choosing carpet. She sent over FedEx some carpet samples over to him.
Reegs: Well, she said she thinks it should be burgundy and there's about 20 swatches that you could all say were burg.
Pete: Yeah. There's one about a cabinet as well.
And I was, I was watching it with, with Cindy and and like I have to go away for work and stuff and that's the sort of like bollocks that I get bombarded. And it's all over WhatsApp now, but it'll just be. You know, like a missed call. Cause I can't be asked to answer it and then I'll just get a picture through of like a table that we don't need or can't afford or whatever.
And so that was really relatable.
Cris: Luckily there's no more faxes these days.
Pete: true. Yeah.
Sidey: Have you ever sent a fax?
Cris: I have, yeah. I used to. Yeah. I even, even here, not so long ago, because there were a few liquor companies here that like distribution, that you had to still fax them instead of. Accessing a website or an app. So yeah, very recently, probably a couple, four, four years ago, maybe last one.
Sidey: Yeah, so, bill Murray's character, Bob, he's a film star, but
Reegs: a sort of fading film
Sidey: the twilight of his career, and he's quite disgruntled about it.
You learned later on that he's, he's being paid a decent amount. He's $2 million to advertise his whiskey, but he's kind of like, I should be making a film or being in a play rather than doing this shot.
And Charlotte is,
On this trip with her husband John, who's a photographer, and he's going off photographing bands and doing various campaigns, and she's just tagging along, bored out of her mind.
Reegs: immediately kind of completely disconnected from her. And obviously that is a big theme in the movie is about connection.
But he like is largely ignoring anything that she says to him or any of her complaints about what's
Pete: Well, I'm, I'm, I'm sure it was like deliberately in there, but there was, there was a part sort of in the opening because they don't actually like have a conversation with each other, like Bob and Charlotte for half an hour, maybe longer in, in the film.
So it just kind of like cuts between him and her and what's going on in their respective kind of experiences within the hotel. But the first half hour or so, she almost never has any kind of, Garments on her bottom half. It's just her and her pants, which I noticed. But her like seemingly fairly new husband, they like, seem like newlywed.
I dunno if I've,
Sidey: she's just graduated from college so she, that would put her what, 22?
Pete: Yeah. So the, the, let's
Cris: says at 1.2 years
Pete: that long
Cris: says two years at one
there's, there's one bit where he's like pissing about on the floor with something rather than she walks past. And it's only like from the, the way the camera is, it's got his face in shot, but you just see her like bottom half with the pants and the legs.
And I certainly noticed that she, as she walked through, but he doesn't even look up
Reegs: because the camera is very much male gaze. Like you say, it's ogling her ass and the o but the only guy on the is not looking.
He's not interested. He's more absorbed in his work.
Sidey: All he does do in that scene is he criticizes her for smoking.
Smoking. And she's, she's like, well, I don't. You know, I just like it, you know, I'll give it up later. I think
Pete: think. Yeah, I'll give it up later. Yeah. Yeah.
Sidey: right from the get go of the film. She's got this like world wary, like cynical thing. I really liked it. The first time I saw her it was like, I think it was like me.
Pete: she seems a bit as, as well as obviously the fact that she's just bored cuz she's spending a lot of time by herself, which is, you know, it's not her fellow's fault.
He's, he's there for work and she wanted to tag along and everything. But she, I think, seems a bit disenchanted with life in general in terms of what she wants to do professionally. But I think as well as, you know, she's always want instigating any kind of, You know,
Pete: you know, whatever. Like, fucking this, this good intimacy.
Yeah, sorry. And apart from when there's, you know, an exchange like fur, you know, later on in where, you know, down in the lobby or whatever with, with some other person, and then he gets all like handsy with her kind of thing. But yeah, she seems like disenchanted and like maybe she, she's not sure about her life going forward.
Maybe even I'm reading into it, not sure. Her fella and, and this like marriage that she's entered into?
Reegs: Well, there's a few things that behind the scenes as well probably inform that. But you know, meanwhile, Bob is also having his.
Experiences that are making him feel alienated and lonely in this city. And he's, he's constantly shown to be very overwhelmed by the city itself, which is like a physical representation of his, like it's a manifestation of his anxieties and neurosis. And he has to go and film this commercial. That's the primary reason that he's here there, and there's a huge buzzing set and a director who's shouting instructions at him.
And he, we are literally getting things lost in translation when he talks for a minute and a half and she's like, just look in the camera slowly. That's . With intensity. With intensity.
Sidey: that's it, that's all he said, . Yeah, so it, it's not a hilarious comedy film, but these bits that did make me chuckle, like
Reegs: they're really
Sidey: when you See
it again and again, it's just cuz the guy's so animated and, and it's. Quiet. We spoke about the subtitle thing before we start recording. Yeah. He's the loudest thing in the whole film, I'd say.
Pete: Yeah, yeah, yeah, yeah. Yeah.
Sidey: And when he does the first take and as you're watching it, his eyes are all over place. Like he doesn't, he's confused and he doesn't know where to look, and the guy just starts screaming, God, God,
god, .And he's, he's really confused what he's actually supposed to do. And he's literally drinking.
Reegs: Well, he's surrounded by people that he can't
Sidey: communicate with Yeah. all, And the, it doesn't feel like the the translator's giving him the full picture. And even like in the background. , there's, it looks like the sun, Tori, like execs are there. So it is sort of feeling like a bit under pressure and Yeah.
It's quite funny.
Pete: I mean, again, again, this, that, up to that point, it's really like relatable. I was in Tokyo in 2002 and
Reegs: making a whiskey commercial,
Pete: not making a whiskey commercial.
I was chasing young girls a lot younger than me. But it, it's, it is, it's a really confusing, I mean, I loved it, but it's a really confusing environment. Obviously the language is, is completely bonker. Compared to what I'm used to and not a lot of English is spoken, you know, like generally apart from, you know, certain, certain places or whatever.
And it can be a bit kind of like disorienting and overwhelming and everything. I mean, it's, it's crazy. Like it's, it is amazing. You can just lap it up, but it, I imagine it would be very, especially if you don't really want to be there and you
are Only going
Sidey: for, no, I mean, he's literally there for work. So it's, it's record the commercial, go back, we see him in the bar. Then after he is having a cigar and a drink, and there's two like annoying businessmen also traveling for work.
And you can tell they recognize him and they start ask him. And he literally just like says he's, he's borderline, you know,
Reegs: borderline rude, really turns
Sidey: up and
Cris: friends and then he just stands up and leaves.
Pete: walks off
Reegs: and there's also some horrendous lounge music being played. Scarborough Fair,
Pete: Ah, that was amazing. Yeah, like
Reegs: and the music is so good in this movie and it's like juxtaposed against this awful music that takes place inside the, the hotel, which is like this, it's kind of like a, an oasis of, of like Western and eastern stuff.
That's all mink, you know, his home from home anyway.
He goes back to his room and he sent a prostitute. I did enjoy this scene.
Cris: that's amazing.
Sidey: Right? So back in the day when I really, really was obsessed with this film on the IMDB site, they had message boards. Back then and I got into an argument with someone because I liked this film and they were like in some flame war with me about this being racist and specifically referenced this scene of the lit my stockings.
And, haha it's so funny cuz they talk different to us and, oh God, I don't think it's that deep. You know, just, I think of it more is just like, enjoying the differences between us all rather than poking fine specifically.
Reegs: Yeah. And I, it's supposed to be about his comedic, you know,
Reegs: you know, big theme of the movie and not being able to make himself understood or other people not being able to make themselves
Reegs: So, yeah, and it's funny also in town is Anna Ferriss's what is her name?
Sidey: Yeah. So she
We should, maybe we
Cris: under Evelyn something at the hotel.
Reegs: Evelyn Warsh,
Sidey: give it a bit of context, Sophia Kopper was married to Spike Jones. Yeah. And so Giovanni Rubi, the John character is supposed to be Spike Jones and she obviously, based on this film, was very bitter about . Yeah. That relationship.
There was a rumor about him and Cameron Diaz, which is Anna Ferris's character, and this is meant to be
Pete: referencing Oh, right,
Sidey: like painting her as a real bimbo.
Pete: really like, yeah, ous and
Reegs: well, she talks about how um, Buddhism is all about hope and all that when it's about suffering. And , you know,
Cris: it's all, it's all, yeah. It's all
Sidey: when when she says, everyone thinks I've got an eating disorder, and John goes, oh right. Cuz I, you know, I did actually think you were anorexia. She goes, thank you
Sidey: And I
Reegs: as Charlotte can barely, barely disguise her
Sidey: And she doesn't even try. I didn't think she just scowling basically. Yeah. And there's some other hangar on talking about hip hop and break beats. He tries to say something to her about some delay and some production.
She's just like, fuck off. And she basically just gets up and walks off. Yeah.
Reegs: Is that when she sends a drink to
Pete: no, no. It was a, a previous scene. She was by herself when she sent a drink to, to him. That was, I think it was after the rendition of Scar Fair, which I was luling at. That was when she sent
then she walks over and that's when they first speak and he says, I'm planning a jail break.
Do you want to get in? Yeah. Yeah. And then later on he's just drinking at night on his own and she comes down cuz she still can't sleep. And that's when they have their
Pete: I mean,
Reegs: and he sat there with his tuxedos still clipped together with Bulldog clips.
Pete: clips at the back. But essentially what, what, what we've reached here is that even though there is like a significant age gap, if she's meant to be sort of 22, he's meant to be 50, the odd or whatever, there's a, you know, big, big age gap, but they're kind of kindred spirits and they, and they've garnered that from each other just by the, the looks and then the, you know, the glances and then sort of like, he does that one where he is like pretending to be like bored, falling off his chair and and so on.
So that's how they end up like resonating towards each other?
Sidey: They, they bump into each other. He's just had a swim and she's going for a swim and John is going off for a week to do some big shoot somewhere else in Japan. And he does say to her, actually, he does say, why don't you come with me?
But she's like, no, I'll just, I'll just stay here and hang out. And they've got some friends, Charlie Brown and some other people that they knock around. So said, don't worry, I'll just hang up. I'll just be in the way or whatever. He'll, basically, she's probably thinking, you'll just forget about me while Yeah, we're at that thing.
So I might as well stay here with some people that we know. And so they, she bumps into Bob and says, well, I'm, I'm gonna go out and meet some friends later. Do you wanna come with me? And he's like, yeah, fuck it. Why not? Yeah, well, let's do it. And that sequence is my favorite fucking bit of film in any film of all time.
Love it, love
Pete: it. So that night out with the, the karaoke and
Sidey: yeah, it's my favorite thing.
Reegs: They're doing bad versions of God Save the Queen and then
Sidey: more than this.
Yeah. Yeah. I love it. He turns up in a, a really fucking tragic orange camo T-shirt. She's like, well, you really are having a midlife crisis. Yeah.
And he just turns it inside out. I thought it
Pete: Yeah. And then get said to cut the label
Sidey: Yeah. Yeah.
So they go out, they go to a nightclub. They, well they go to a bar and their friend Charlie Brown, obviously insults the barman. He is throwing, I think he pushes a lot of drinks over and he is got a BB gun. Yeah.
I've got stat on the BB gun if you wanna know.
Reegs: Oh yeah,
Sidey: It's a, an airsoft MP five with Tokyo Murray tracer adapter, firing plastic phosphor luminescent bbs. Yeah. Yeah, it's pretty cool. I imagine if it hit you in
the eye, if you if hit you in the eye, they probably would've done a bit damage.
So they run out
Reegs: through the, through the pa Pachinko. Is it those like slot machine ball thing that they love over there?
Pete: the purpose of those are.
Sidey: I think it's all run by gangs, isn't it? It's all,
oh, it's an amazing sequence where they go to the video game place and it's like, this guy cool as fuck with a guitar and the cigarette hang on.
Pete: And, and, and his bird just watching
Pete: It's so fucking good. It's so real. Like, you know, it is, it is so true to life as
Sidey: well. Well, there was a lot of actually gorilla filmmaking because they didn't have permits to film in certain places, so they weren't
like secretly. And so it was like, You know, real.
An authenticity to
Pete: guy kind of like dancing. Yeah, well he's doing like a full dance even though he, he's
Sidey: didn't have to
Pete: buttons with his feet over this half feet. His hands, sorry. But yeah, he's, yeah.
Sidey: the other night out, it's good night out, you know, bro, not nothing particularly wild. And they go back to someone's gaff and they're listen to some tunes and they to do karaoke and then he takes her home
Reegs: got the wig on.
Sidey: Yeah. I've always had a like bit of a fetish for pink wigs off since she's watching that.
Sidey: her the whole thing. the fucking soundtrack is like 10 outta 10. It's absolutely incredible. And it's
in pocket. You've got you.
Sidey: Yeah, it's got my Bloody Valentine is what she falls asleep to. Yeah. It's really.
so they, they're now, they've like properly connected. They have a, the scene after or during the karaoke where they're both sitting in the hallway having a cigarette and she just like goes to sleep on his, well, I just didn't go to sleep.
She just rests her
Reegs: well. They both struggled constantly with insomnia throughout the movie. And
Sidey: go to sleep until the bit later.
Reegs: Yeah, well, she, he falls asleep in the taxi on the way back and blah, blah, blah. But then,
they're still struggling when they're apart.
They're still sort of restless and awake. They have another night.
They've, they've gotten their separate ways and they're in bed and then they have a,
he, he posts, does he push, push the message under her
Reegs: He gets the hotel to do it and post a letter under her door, are
Sidey: you wait. Yeah. Then they have this meaning of life chat where she sort of says, I dunno what to do.
Reegs: She talks about feeling lost and doesn't Yeah, exactly. Dunno what to do. She doesn't, has direction lists and
Sidey: Yeah, It's, it's just like reassures her, but in a very.
general ways, don't worry, you know, it's fine. And she asked about having kids, and he does says this really nice thing about his kids because you get the impression that he's not selfish, but he has, you know, the first thing we learned about him is that he's forgotten his son's birthday.
But he talks very lovingly about his kids and how it's amazing and the best thing he ever do.
Pete: say it changes everything.
Sidey: Yeah. Yeah. it's
Pete: But, then, and you think, yeah, like, but then he does go on to say that it's like, you know,
Sidey: and as they speak, sh she can tell she, the two of them, they're, they're falling asleep and they're getting, they're getting more relaxed and, and they just, you know, there's nothing sexual about it or anything.
They just sleep in next to each other in
Pete: Yeah, I did, I did wonder like up to, I'm sure we'll talk about it afterwards, but I did wonder, like up to this point I kept thinking like, are they gonna kiss? And if they kiss, is that gonna look really weird? Is it gonna be weird? Because obviously the, the, the acting's amazing and it looks, it does seem really natural.
It seems like the sort of like kind of relationship that could. Like blossom in terms of like, you know, you know, a lot of respect for each other. A lot of like kindness and cons, consideration towards each other. And I, I guess the question that was hanging over my head is like, is this gonna be like a, a film where they live happily ever after kind of thing.
Like, I didn't know what the outcome or, or anything was. And then, and then I kind of like almost, because the next, pretty much the next scene or the next like big thing in the movie is. He's at the, he's at the bar and the jazz singer comes and sits
Reegs: next, well, he does actually try, after that night with Charlo, he does actually phone his wife and try to sort of have a conversation with her about
Sidey: and she's she's him yeah,
Reegs: Yeah. It's
Sidey: Yeah, I think they're,
they're both, you
know, as much to blame each other. It's just, you know, a relationship that's gone on for a long time and it's just kind of lost it spark a little bit and so they're blows guilty to each other.
Yeah. And he's, something's like rekindled in him, I think by the end of the film,
Reegs: Well, he's presumably a serially in a serial inf Oh, he's a Yeah, chaga. Yeah, yeah,
Sidey: Yeah. Cuz he died like, oh man. The first time I watched this and they've had this sort of relationship going on and, and although it.
Reegs: it's not sexual, but it's
Sidey: romantic, But they have a
nice con, they have a very good connection and it's bringing out the best of them. And then he's like, he wakes up. It's very quick cuz she sits, she p flunks herself down next to him in the bar. Yeah. Then it cuts to the morning after and he's like a bit pissed and he looks and a
Reegs: you can hear her in the, and she's singing .
Sidey: and he, and he's
Reegs: midnight in the Oasis
Sidey: honestly, at first I was like, what have you done? You fucking idiot. Oh no. And then like, when you know it, knock, knock, knock at the door at Charlotte. She just hears a thing and say, oh, okay. Fuck off, basically. And she's upset and, but they do meet for lunch.
Reegs: They do. And it's the most horrible lunch. She throws out things about him being old and she's really spiteful. And what does he say to her? He says something about your lavish need for attention. So yeah, it's a pretty frosty lunch.
then at the end he's like, and then they make you cook your own food.
Sidey: Yeah. They, they go back to hotel and they go a separate ways, and you kind of think, oh, is that gonna be it for the two of them?
But there's a fire alarm in the middle of the night, and even the fire alarm is really polite. It's just like
Cris: Yeah. It didn't sound like a normal, it just, it just sounded quite quite tame. Yeah.
Sidey: Don't panic. They sort of make up
where they're outside. He's got these ridiculous robe and slippers that are far too small for his feet.
And they laugh about the lunch and kind of acknowledge that there was nothing ever gonna happen between them Really? Yeah. But they still have the memories and the connection. Yeah. Yeah.
next day it is goodbye. That
Reegs: it is really
Sidey: is their last day.
Reegs: he calls, he calls her and leaves a voicemail. He's left a jacket or something and it's really tense now cuz you know there's only like 15 minutes left in the movie. What's gonna happen? They're just fighting around sort of. We
Cris: also sends another fax.
Reegs: sends a fax to him as well. And he does eventually meet her and they have this really awkward moment where they don't really say goodbye to each other at all. No. As he's leaving,
Sidey: they're quite nice to each other, but he sort of stares at her. She gets in the lift and the door closes and she doesn't look back at him.
I don't think she wants to, and she kind of looks up and it closes and they're like, oh. And there's this absolute knockout blonde. Yeah. Who's really wants to torture him and get, or whatever, you know.
Say I'm a big fan or whatever, and he just, he can tell his mind's still on Charlotte. And he, he just brushed her off and did it.
Yeah. Fine. You know, nice to
Pete: to see you. Well, it's, it's before he sees, before Charlotte comes down,
Sidey: right. He goes over to her. Doesn't he
Pete: because he, she's, she introduces herself and she, you can tell, she's like really kind of like keen to strike up, strike up a conversation and then as soon as like he turns his head and sees Charlotte, he just immediately like blanks this, this worldy.
Sidey: Yeah. And
Reegs: then he just gets into the cab and he's heading to the airport. Heading home? Yeah. And I think the cab stops and he looks to his left and he sees down the street, he sees Charlotte and sees her distinctive hair as she walks down the street. And he abandons the taxi, I think. He says, wait for me here, and runs
Sidey: let me out. It just says, let me out. And he gets out and he goes over to her. They embrace,
Reegs: she gives, it's incredible acting cuz the look of, it's a genuine look of like shock and recognition and
Sidey: joy and when you sadness realize that they didn't get on throughout the making of this.
So it is great acting. And he whispers something to her, the eternal debate that's raised on for the last 20 years. And what did he say to her? People have like tried to isolate the audio and amplify and stuff. Who cares? Just like decide what you
Pete: so it's not, it is not, it's never been revealed, I guess. No.
Reegs: and it's not important. And he, yeah, they kiss and embrace and that's it. He walks back to the car and there's an extended sequence of him going back to the airport.
And we see Tokyo feels slightly different now to the g Jesus and Mary chain, isn't it?
Sidey: Yeah. Just like Honey from Psycho Candy.
Fucking great album. Yeah, they, they, he's smiling actually. He seems happy. Like, he's like, okay, I'm gonna go home. And I think he's said to her something like, you know, you gotta, if, if you want to be with him, whatever, be with your husband or if you don't wanna do something else, just you'll figure it out.
also a lot of other chatter that, there's a scene where she's listening to herself help audiobook thing, and she's holding.
Tommy is like, people think she's
Reegs: Mm-hmm. maybe.
and that's why she's disgruntled.
Reegs: It doesn't matter really. It's the two people who found a connection and a journey of self-discovery, and they've both moved.
Hopefully to better lives or better places than they were at the beginning of the movie.
Cris: Definitely. Better sleep. No.
Reegs: And better sleep. Yeah.
out 10 for me. I fucking love this
still. it's amazing. still
Pete: still of strong recommend.
Reegs: Yeah. Brilliant. Absolutely brilliant. And you know, it's about the, the stuff that things are really important, you know, connection and all those sorts of things, so yeah.
Pete: Great. I, yeah, I mean, I, I really, I really liked it.
It was, it, it's, it's kind of like genuine, it's sort of like as, as a plot and a theme. And then it obviously, it helps with like the, the sort of like the, the great sort of story and, and dialogue and the acting that it, it's like a viable. s story, you could imagine something like that happened. In fact, I, I'd be gobsmacked if not, you know, exactly the same dynamics and everything.
But if that kind of encounter hadn't happened where there's this sort of like mutual respect and, you know, a attraction to one another without it necessarily being an overtly like physical one, if you know what I mean. There, there was some scenes where I obviously on the first time watching it and, and not knowing what to.
There were some scenes where I thought like, there was it kind of that someone said something just before it became an awkward silence, if you know what I mean. Like, I did think, oh, is that like this, is it ramping up a little bit more? Is it getting towards a kind of like a, a climax where either she just like goes, listen, I'm not into you mate, or they they end up having some kind of romance.
I wasn't sure how I felt by the kiss at the end, if I'm honest, because I, I think I would've, it, it. A more kind of like believable, like scenario would've been for me that they either just left it and just like had a cuddle and like really kind of, you know, showed their respect and care for one another.
And, and I, I, by that time, I didn't expect there to be anything romantic and the fact that it was like quite a, like a prolonged kiss on the lips, if it
Sidey: I still
didn't, I still didn't get that. It was a hugely romantic
kiss. Even though it was on
Pete: No, I know. I know. In which case, why
Sidey: think it was loving
Pete: why, why, why have it like, yeah.
Cris: kind of half kissed.
Pete: I mean, I give my kids a little peck on the lips sometimes, like before bed or whatever, but I'm not gonna hold it there for if there's,
Sidey: well, they don't think
Reegs: Yeah. JJ is a good kisser. Really. He,
Pete: No, I know, but I'm just, you are saying there's nothing like, you know, there's no sexuality or romance in it whatsoever.
It's like a, A father kisses daughter kind of kiss more, but it's definitely longer than
I think if, I think it is an acknowledgement possibly that if things were different and it was a different circumstance than they
Pete: Yeah, okay.
Sidey: they would've, they would then they definitely would've been saying.
But I think
he's saying there's
Pete: there, but yeah,
Sidey: he loved going away, but not in an, in a
Reegs: I think it was an emphatic end to a powerful connection between them and that was it really. They both moved on, you know, I think
Sidey: I haven't,
Pete: well, we'll, we'll be, we'll be having a kiss tonight then, if that's the case. Yeah. No, I, I really, really like to, I mean, in, in terms of like stuff that you've said side and it's, you know, completely down to personal choice and what you felt like when we, when you are talking kind of, In your all time, kind of like top five, maybe top and everything like that.
It is not there for me. And, but it doesn't mean to say it is still a fucking great film, great film. And I, I, you know, rattled by really enjoyed it. I laughed. It was endearing. It, it, it's made me respect and, and, you know, enjoy. Bill Murray a lot more than I had previously, cuz I'd always just seen him as basically playing the same guy in every single film.
He's, he's like the Ghostbusters guy, then he is like the, you know, Groundhog Day guy. They all seem to be the same for me. And this was more dynamic than that, albeit he didn't do a great deal, but it was, you know, he got on board with the character a lot more.
Sidey: You didn't take it, Chris?
Cris: Yeah, I did enjoy it. I, it was also, I, I, I think I've seen it before, but I can't remember anything from it.
So again, I could be wrong here. I did enjoy it. And I have to say, I did enjoy the stereotypes with the fact that they were Japanese and they. Had a karaoke machine at home. That obviously, that's a stereotype that everybody knows. If you go Japan, it, it, they just happen to have a karaoke, or even if it's on the tele and there's something with a microphone attached to it, they all, they all have one.
The gaming and all that. I, I did enjoy that. Like Pete said, actually, I, I laughed probably more than I should at the, the lost in translation bits where he kind of just looks at them and.
Was that it or what did, what did he say? He kind of looks, the, the best one for me was when she stubs her toe. Yeah.
Takes her to hospital and he just sits outside there and you can see these,
Sidey: two people behind him
Cris: chatting to this man and this random man and these women behind him are just pissing
Sidey: it, a lot of it is improvised as well.
We should say that the script is,
Sidey: a lot of it is
Cris: Is it? And, and those, those kind of things. I, I did enjoy that,
Reegs: she was asking him where he was from and he was just repeating like random words back to her and making, you know, so if you imagine that from her perspective, that
Cris: conversation? Well, any, and then these kind of things again is, I did enjoy it because normally the, the storyline for me is quite monotonous. Great. And, and you know, it is just two people that. Find a way to connect to each other and, and in a different country surrounded by all these different people, but, and, and aged the gap and everything.
I did think at one point that they're gonna have sex, which it didn't happen clearly, but I did think at one point it kind of went crescendo, crescendo and to your kissing thing. They did have a. Awkward kind of half lip kiss in the lift at one point.
Pete: Yeah. Yeah. Twice. He kind of like
Cris: so then,
Pete: both times.
Sidey: Oh yeah. Then no, wait,
he misses his, he misses the floor, doesn't he?
Cris: so then, at the end, when that happened, I wasn't that surprised because it kind of half happened already, but now I'd really enjoyed it and, and I think it was long enough as well.
Yeah. Because sometimes we recently watched movies when they can't go too much and this was the right, I think the right time. It was, it
Pete: was say one hour 40, something like that.
Cris: Yeah, some one
Sidey: if you stay for the whole credits, there's a lady at the end says, boy.
Reegs: All right.
Pete: It's inter, sorry, just to interrupt. It's, it's interesting what you said about them not getting on because the, the, the chemistry and dynamic between them throughout the film is like fucking unbelievable.
So like, is there any more on why they didn't get on?
Reegs: Well, he's not very nice now, isn't he? That's, that's the general opinion on Bill
Pete: years ago.
Reegs: years ago. I know, but in general, I think the general sense now is that Bill Murray is a bit on the verge of being canceled, didn't he?
Sidey: Yeah. That's a shame. I dunno, dunno, specifics to think. Yeah, she just felt like an outsider during the whole production and just didn't really get along.
And then she made go with the Pearl earing straight after this. And when it came to the Oscars, she didn't go and see anyone from the lost translation thing. Bill Murray, that's his only Oscar nomination for Loston translation.
Pete: That's not surprising in the slightest. He's a run of the mill comedic actor. Other than that.
Oh, Sophia Coper was the first woman to be nominated for writing, directing, and producing in the same year.
So that's decent, isn't it?
Reegs: done since,
is Virgin suicides before this, then this, then some other things
after that. Yeah, the other ones Yeah. Yeah, it's good.
The soundtrack's great. I've got two copies of it on vinyl. I've got one box set version of it, which is a Park Hyatt Tokyo pillow case with a mint and the cd, and I've got another one, which is like a book
Reegs: would you ever eat the min?
it's probably melted. It's like home as well, you know, he lies on it. . And then I've got one, almost like stills and stuff with the city at the back.
So I, yeah, I really into
Pete: So, big fan.
Sidey: big fan of this. Yeah.