Asian American Film: Commentary

Is "Lost in Translation" Racist?

01.04 - Posted by Editor

Is "Lost in Translation" Racist?

Commentary by E. Koohan Paik

With Sophia Coppola's film "Lost in Translation" picking up awards right and left in the countdown to the Oscars, it's high time AsianAmericanFilm.com provided a space for discussion about the film's treatment of Asian people. Read on for E. Koohan Paik's in depth analysis, and post your comments!

01.04.03 - The most interesting thing about Sofia Coppola's film, "Lost in Translation," has been the resulting discourse around that bugaboo of a question: Is this movie racist?

It is precisely the brilliance of "Lost in Translation" that warrants its unsentimental scrutiny. Understanding the nature with which media worm its agendas into the deepest levels of the subconscious is all we can do to inoculate ourselves against its relentless barrage -- though they still often manage to have their way with us. Questions more complex than whether the film is patently racist need to be asked. For example, what is the political and historical context of the film? What, and who, is not shown in the film? What implicit social conventions go unchallenged? Only after answering such questions can one rationally ponder political impact by media, the arts and propaganda.

The film tracks, in heartbeat-delicate movements, mounting romantic tension between world-weary Bob Harris (Bill Murray as a version of himself) and Charlotte (Scarlett Johansson) the soulful wife of a crass photographer. Bob's in Tokyo making commercials for Suntory whiskey. She's there as a desultory tag-along to a work-obsessed husband. Over the course of several days, they brush paths within the placid steel-and-glass hotel towering high above the chaos of Shibuya and Shinjuku (one shot poignantly references the Vegas neon in the elder Coppola's lackluster love-pic, One From the Heart). Finally, after a masterfully paced series of restrained encounters, Bob and Charlotte elegantly climax their relationship with a kiss.

Camps are generally divided between those who feel the film makes a mockery of the Japanese people, and those who defend the authenticity with which Coppola portrays the experience of dislocated foreigners bumbling in Tokyo. One group calls for fair representation; the other believes that political correctness shouldn't snuff out the rich humor and romance of an honestly wrought film.

The Japanese are presented not as people, but as clowns. And the performances are flawlessly comic. Yutaka Tadokoro, as the mop-headed hipster, directs Bob for a commercial with the precision exuberance of Seiji Ozawa conducting Stravinsky. Fumihiro Hayashi, as a call girl, plays hilariously off straight-man Murray, demanding that he "lip my stocking!" and in doing so, elevating the tired joke about how the Japanese confuse L's and R's to high comedy, not to mention the unbridled absurdity of her solo date-rape tussle on the floor of Bob's hotel room. And finally, Matthew Minami, real-life TV star of Matthew's Best Hit TV, is disturbingly unforgettable as a dayglo, amphetamine-boosted update of a Japanese archetype -- the silly, teahouse homosexual. The timing of all the lines, gestures and editing is impeccable, but the hilarity is rooted entirely in the "otherness" of the Japanese people. We laugh at them, not with them. This is why the film is accused of being racist.

Even verité-style footage of authentic locals focuses on the Japanese as a sorry lot, preoccupied with cheesifying all things western (the spiky-haired youth thrashing a video-game guitar is shot with Arbus-ian detachment, for example). These scenes are occasionally "balanced" by appropriately reverent, but equally inscrutable, shrine-and-temple sequences. Moreover, the film is simultaneously scornful and smug in the knowledge that imitation, no matter how tacky, is the sincerest form of flattery. This sentiment is actually articulated in the dialogue, by Charlotte's husband, galled by a rock-band photo shoot: "Let them be who they are! They're trying to make them Keith Richards when they're just skinny and nerdy." The subtext here is, when westerners ape the Rolling Stones, it's normal; but when Asian kids fall prey to the same media hype, they're pathetic wannabes. They should be meditating in a dojo somewhere, not playing rock and roll.

But is negative representation an accurate criterion for discrimination? If it were, then an entire storytelling tradition would be considered politically incorrect. Good versus evil is a mainstay of western culture. Are we to censor Nurse Ratched and Ebenezer Scrooge for slighting women and the elderly? An important distinction needs to be made: it is not negative representation of the Japanese, but, rather, the shirking of responsibility to depict them as full human beings, either negative or positive, which constitutes discrimination, or racism.

We've seen this phenomenon in countless films in the case of women: the fully dimensional (human) characters are all men, while females are represented with cardboard depth, existing only as "markers" (mother, love interest) against which the protagonist and other males can flex their identities. Many a "classic" has missed true greatness because of such sexist oversights.

To deprive a character of dimensionality is the true insult. Take, for example, the Mother Superior in "The Magdalene Sisters," one of the most loathesome roles to hit the silver screen. Because she's a full character, not a caricature, the film is saved from being a wholesale diatribe against the Catholic Church and nuns as a group. She's a villain, to be sure, but she's complex, multi-dimensional -- that is, human. Then there's "The Quiet American," a scathing critique of U.S. imperialism, which, like "Lost in Translation," depicts only those of European descent as multi-faceted human beings. The Vietnamese love interest is a doll; the other Vietnamese characters are nearly invisible or melodramatically evil. In neglecting to craft all characters fully, including the Vietnamese, Asian "otherness" is perpetuated, and, as we shall see, imperialism is justified -- the ironic opposite of the film's objective.

"Apocalypse Now," Francis Coppola's riff on Conrad's "Heart of Darkness," takes place in a land of exotic otherness -- again, in Indochina. And, as with Conrad's classic, the film is about white men, though its African-American GIs qualify for the "honorary white person" exemption specific to Vietnam War pictures. Take the black man off the streets of an American city and put him in the jungles of Cambodia, and, voilà, he's transformed from felon into one of "us."

The Asians, needless to say, are not. They are "them." Anyone who has seen "Hearts of Darkness," a documentary by Mrs. Eleanor Coppola on the making of "Apocalypse Now" (not to be confused with "Heart of Darkness"), has seen the bravado with which the patriarch Coppola beseeches that no detail be overlooked in a scene re-creating a French colonial dinner in Vietnam. Even the wine has to be the correct temperature, he implores. The obsessive lengths he went to make a scene which didn't even make it into the final cut stand out in insulting relief to his highly inaccurate depiction of the "natives" up-river. Just smear some mud on 'em and make 'em shake their spears, appears to be all the preparation made for the scene. Does Coppola really care about these "primitives"? It's hard to believe. Though he, and his muse, Conrad, mean to critique imperialist aggression, the fact that it is done entirely through the prism of European self-absorption undercuts the sincerity of any intention.

Creating a universe in which one group is singled out and represented as dolls or cartoons (or not represented at all) has political impact. It is arguably the most effective means of driving home a message of the group's "otherness." (Incidentally, at the 1998 Los Angeles Asian-Pacific Film and Video Festival, a statistic cited that, in the mainstream media, there were more representations of extra-terrestrials than of Asians.) And once this "otherness" is established, any violation against that group can be justified. This is summed up by Gen. William Westmoreland in the 1974 documentary Hearts and Minds (not to be confused with Hearts of Darkness) where he dismisses Vietnamese casualties, saying, "Life is cheap in the Orient." In other words, "they" experience death differently than "us." It's not that big a deal for them.

"Otherness" can justify any incursion, occupation or subjugation, because implicit in the myth of otherness is its corollary: "We know better." The idea is, they can't fend for themselves so they need our help. They need our military to install democracy since they can't do it for themselves, our genetically modified crops since they can't feed themselves, our economic models because they can't uphold a decent standard of living by themselves, and in the vein of a "softer" imperialism, our NGOs because they can't organize for themselves. To be acted upon and spoken for is to be "the white man's burden." No different were the cases of African-Americans and women -- one-time "others" in the U.S. -- who couldn't survive on their own and who therefore "needed" a master. It was for their own good.

"Lost in Translation" relies wholly on the "otherness" of the Japanese to give meaning to its protagonists, shape to it plot, and color to its scenery. The inaccessibility of Japan functions as an extension of the alienation and loneliness Bob and Charlotte feel in their personal lives, thus laying the perfect conditions for romance to germinate: they're the only ones who understand each other. Take away the cartooniness of the Japanese and the humor falls flat, the main characters' intense yearning is neutralized and the plot evaporates.

Granted, the "otherness" is an innocent construction, intended only to set up dramatic tension, not to subjugate a people. But art does not function isolated from political context. We live in an era when "otherness" logic makes the Bush doctrine of pre-emptive strike and expansion perfectly acceptable, regardless of reason.

One of the most insightful thinkers on race politics was the late Edward Said, whose "Orientalism" and "Culture and Media" have become defining works in the canon of writings on the subject. He focused on the ecology of art and politics. After all, the geopolitical landscape can't be successfully conquered, through guns and tanks, without first conquering the landscape of the mind, through culture. Look at Iraq -- people can't be bombed into subjugation. But they can be brainwashed into it. This is where art comes in.

Said asserted that the novel form in literature was intrinsically racist, or more precisely, imperialist. During the rise of the British Empire, literature was the delivery system of the dominant culture's agenda. The novel form, which emerged concomitant with the Empire, carried with it certain invisible, unquestioned conventions. One of those conventions maintained that the natural order of the world was a social hierarchy defined along lines of race and sex. Said described how the novel set up a dichotomy in geographic terms of "us" and "them", a fundamental hierarchy where "home" was the center of the world and "the colonies" were wild, exotic places one might venture to, but sensibly return from. Persons originating from the center of the world were "superior;" those from the wild places "inferior." Conrad is the quintessential literary example of this worldview.

This "otherness" logic has been a convention in English literature for centuries and has also informed cinematic storytelling. In fact, it's so deeply rooted that even in Lost in Translation, a film which takes place in a country of superior technological prowess, superior social conditions (crime and homelessness are nearly nonexistent) and superior politesse, the ethnic European protagonists cop the same arrogant attitude found in the jingoistic characters of Kipling. "East is east, and west is west, and never the twain shall meet" could've been "Lost in Translation"'s publicity campaign tagline. The Coppola adherence to the convention of the superior westerner remains entrenched in the era of sahibs in pith helmets. It's the classic Riefenstahlistic schism between cinematic virtuosity and political cluelessness. (A note of trivia: Sofia, at the age of three, was present at the Telluride Film Festival when her father and Leni Riefenstahl were both feted there in 1974.)

"Arrogance" is the operative word here. In "Lost in Translation," not a single attempt is made by Bob or Charlotte to communicate in Japanese. It's as if it were beneath Charlotte to respond with a simple "Konichiwa" when warmly welcomed by an ikebana matron. Worse yet are Bob's bursts of jokey invective directed in English at uncomprehending bystanders, whose only crime is their Japanese-ness. (Some might view it as a kind of poetic justice for the Japanese, who institutionalized severe beatings as punishment for any child in Japanese-occupied Korea caught uttering a word of his or her own language.) Sure, Americans aren't exposed to the same diversity found in polyglot Europe. But does that justify linguistic arrogance? Imagine French tourists in New York refusing to speak English, deriding waiters in French, and wondering amongst themselves, eyes rolling in disgust, why the few Americans who make efforts to speak their language make such idiots of themselves. No, even the French aren't that arrogant.

This is behavior unique to the imperialist worldview. It's the linguistic equivalent to what one-time currency speculator George Soros recently observed about the current global power dynamic: "In the Roman Empire, only the Romans voted. In modern global capitalism, only Americans vote." "Lost in Translation" illustrates how Americans have made the peculiarly imperialist combination of ignorance and arrogance a national identity.

E. Koohan Paik (AKA Camera Obscura) is a writer and filmmaker living in Kauai.

indieWIRE: What inspired you to make "Lost In Translation"?

Sofia Coppola: For a while, I've wanted to do a movie in Tokyo. I knew the setting. I wanted to shoot at the Park Hyatt hotel, and I wanted [to shoot] the neon at night, and I wanted to make something romantic. I wanted to make a love story without being nerdy. But it mostly came from time I spent over there when I was younger.

indieWIRE: You were doing fashion work in Tokyo?

Coppola: I was taking photos, and also my friend and I had this clothing company called Milk Fed.

iW: Do you still visit Tokyo?

Coppola: I still like to go there. A lot of the guys in the movie, like Charlie Brown, are people I've known for years. The idea for "Lost in Translation" really started when I saw Charlie perform "God Save the Queen" at a karaoke bar. I said, "I have to put this in a movie."

iW: Why was the Park Hyatt in particular a good setting?

Coppola: I stayed there during a "Virgin Suicides" promotional/press tour. It's just one of my favorite places in the world. Tokyo is so hectic, but inside the hotel it's very silent. And the design of it is interesting. It's weird to have this New York bar...the jazz singer...the French restaurant, all in Tokyo. It's this weird combination of different cultures.

iW: Can you talk a little bit about the other locations of the film -- the look of Tokyo you were trying to capture?

Coppola: I wanted it to be based on the way a snapshot looks. I talked with Lance Acord, our great DP, about how we wanted to shoot it with a small lightweight camera so that we could be mobile. The film stock was a higher ASA so you didn't have to light it. We could go into a club without people really noticing, it was almost documentary-style for some scenes. You can't get permission to shoot in the subways there. The idea was to be stealthy and shoot people and just run around Tokyo with a few crew members. I wanted the film to look the way Tokyo looked to me when I visited.

iW: Did you ever think of shooting on DV because of your constraints with space and light and so forth?

Coppola: Yeah, my dad [Francis Ford Coppola] tried to talk me into it. He said, "They're not even going to have film soon, you might as well get used to it!" He's Mr. High-Def, he's really into it. I thought about it because it would have been non-intrusive, but for this I did want it on film, because it's like a memory and a love story.

iW: What were the challenges of shooting in Tokyo? Did you have a mostly Japanese crew?

Coppola: I think the biggest challenge was just working with our time frame (27 days) and our low budget. [Coppola didn't want to disclose the exact budget, saying only that it was "a couple of million dollars."] Because the hotel had guests, the hours were just crazy. But having a mostly Japanese crew and not speaking Japanese was definitely complicated.

iW: How did you get around the language barrier?

Coppola: My AD was bilingual, but still everything takes so much longer. There are just the cultural differences, the formality of things there. If you just want to ask the extra in the background to move a little bit, everything takes longer. You can offend people without knowing you are. We were shooting late at one location, we were only about 10 minutes late -- totally normal for American shoots, but there we had totally disrespected them. So it was definitely a challenge getting through all that. But it ended up being really fun.

iW: Did anything that occurred while you were filming inspire additions to the film?

Coppola: I loved to open it so if we saw a cool place we could shoot it. The Japanese politician that waves at Bob on the street, that's not a big thing, but I didn't know about that. We would just kind of find things like that and add them in.

iW: I wanted to talk a bit about the casting. Why were you interested in pursuing Bill Murray in this lead romantic role?

Coppola: I've just always loved watching him in movies and I always wanted to work with him. He has this sweet, lovable side. I thought it would be funny to see him in this little kimono in Japan, where he's really out of place.

iW: And with Scarlett [Johansson] how were you confident that she could handle such a meaty role even though she's still a teenager?

Coppola: I always liked her in "Manny & Lo," as a cute little girl with that husky voice. There's just something about her, she does that cool wise-ass character well. She just seems older than she is. There's some innate quality.

iW: What sparked the idea about these two characters who have this strange bond?

Coppola: For everyone, there are those moments when you have great days with someone you wouldn't expect to. Then you have to go back to your real lives, but it makes an impression on you. It's what makes it so great and enjoyable.

iW: Part of the powerful nature of their relationship is that it's fleeting.

Coppola: Yeah, it's just for that moment. And sometimes with strangers, you can tell them something that you couldn't tell someone you know. But I just liked those brief moments of connection when they're feeling so disconnected.

iW: Did you ever consider a version of the story in which they were physically intimate?

Coppola: I liked this relationship. I've had friends like that where you have a flirtation but you're just friends. I wanted it to be more innocent. If they slept together, that would bring in reality.

iW: Did you work a lot with the cast before you started shooting?

Coppola: I did one rehearsal with Scarlett and Giovanni, but Bill and Scarlett met in Tokyo so I'm glad it seemed to work out between them. We just kind of jumped into it. We did a lot of improvising. Bill's great at improvising.

iW: Can you remember something specific that Bill came up with?

Coppola: When [Bob and Charlotte] are in the sushi bar, I had just written "he tries to make her laugh." Bill just went off.

iW: Was there anything you learned on "Virgin Suicides" that helped you while making this film?

Coppola: This one seemed just as hard. I think that there are those moments when you think you're not going to get through it, but you know that you did last time, so that helps. You kind of forget about it after you're done shooting. You're like, "How did I DO it?" I knew that it works out even if it seems like it's not going to.

iW: Do you and Spike Jonze [Coppola's husband] give each other advice?

Coppola: We definitely talk about stuff, but I'm pretty stubborn, I don't think we really like to get advice from one another [laughs]. But it's nice to talk out your ideas.

iW: What about your dad?

Coppola: Yeah, he's like my teacher, my advisor, I talk to him a lot. If a problem comes up, he's great in the early stages when I'm trying to get it together. He tells my brother [Roman] and I that you just have to will it to happen. Even if you're just starting and you don't have any money, just go ahead and it will all fall in. It kind of gives you the confidence. He's great about editing, too, like early cuts, that's his area of expertise.

iW: What do you think your Tokyo friends will think of "Lost in Translation"?

Coppola: I'm curious. They'll laugh when they see Charlie singing. For [Americans], it's so exotic looking, and I wonder to them if it's like me watching a movie about L.A. I hope they'll like it. Like the translations or misunderstandings, the crew thought those were funny, not offensive.

iW: The music seems very important to you as a filmmaker. How did you get Kevin Shields [former mastermind of My Bloody Valentine] involved with this one?

Coppola: I started working with Brian Reitzell who was the music supervisor on "Virgin Suicides." I started telling him about the script when I was writing, and he made me all these compilation CDs, just kind of the music we were talking about. I always loved My Bloody Valentine, and Brian thought to approach Kevin Shields, which was really exciting. I work pretty closely with Brian. I wanted it to be less like a score and more like these mixtapes he used to make me. They reminded me of Tokyo, they sounded like dream pop. It's that melancholic, romantic sound that Kevin Shields is so great at.

iW: I love the scene when Bill Murray sings Roxy Music's "More Than This" at the karaoke bar. How was that song selected?

Coppola: That's funny, we were in the karaoke place and Bill and I were just talking about how we love that album [Roxy Music's "Avalon"]. I said, "Will you sing it for me?" So he did, and I thought it was so sweet that we filmed it, and luckily we got permission to use it in the movie.

iW: So, what are you doing next?

Coppola: I'm thinking about beginning to write again. I'm procrastinating. I'm still working with Focus to promote this film. One of these days I will get back to writing, but I'm going to put it off a little longer.

Posted by: Sofia Coppola speaks on February 10, 2004 01:16 AM

Again, whilst I think your piece was both thoughtful and eloquently argued, I feel that you are trying to hard to find a subtext to astory about very personal flaws and romances. Or rather, when Bob shouts randomly in English to random Japanese people it's less his saying "look, I speak English! See, I have no need for your tongue" or something similarly melodramatic; this habit is more as a manisfestation of his jadedness, and somehting he would most probably still do in the west, but just under his breath... anyway, a moot point perhaps...

Posted by: Magpie on May 23, 2004 04:13 PM

Don't forget that there are Caucasian charicatures in the film as well. For example, the vapid movie star played by Anna Faris, or her DJ friend. Not to mention "flat" characters such as Bob's wife and Charlotte's uncaring friend she speaks to briefly on the phone. If you're going to criticize the film on the basis of John's passing comment that rock band should stop pretending to be Keith Richards, then you should also criticize American society as being heartless based on the passing comment that Charlotte's friend is too busy taking other calls to console her during her crisis.

Posted by: Wes on May 15, 2004 08:49 PM

Hello,

The film is not racist, but it fails to be civilized. The important point: ms coppola and other hollywood people are not worried about cultural sensibilities. Otherwise this discussion wouldn't exist.

[]s
China
(actually i am a brazilian japanese, but thatś mu nickname since i was 6)

Posted by: china243 on April 20, 2004 03:17 PM

It's interesting to see how many people are talking about this subject. I am Asian myself, as well as a film student, and so this topic has already come up many times within my circle of friends who are mostly Asian and White. Asians can't escape hot debate about Asians. It's like a rule or something... =)

Is this movie racist? Paik makes some good arguments, but I'd have to disagree on the whole. I suppose it mostly depends on who your audience is. Yes, there are many people in this country (and other countries as well) who will watch this film and come away with nothing but negative ideas about Asians and Asian culture. But I think those people only have a capacity to appreciate this film at that level, and those people are simply to be pitied. It's true that most of the Asians in the movie had little depth beyond their eccentricity. However, this movie is not about Asians. Its about alienation and loneliness.

Let's be fair. Lets give non-Asians a little more credit. Don't let the shallow and ignorant represent the whole of non-Asian society. I grew up in Phoenix, and so I've struggled with race issues for most of my life as one of the few Asians in Phoenix at that time. But for every person who's looked at me with manually-induced chinky eyes, there have been many more who have already risen beyond that kind of ignorance and extended nothing but courtesy and respect. Lost in Translation had many beautiful moments. I think most people can appreciate that, Asian or not.

Posted by: ed on April 2, 2004 02:32 AM

NO it's not racist.
come on, Coppola just trying to make a film showing japanese culture. and they are their true cultures. it's interesting to compare and observe different cultures meeting eachother. it's not racist. plus, the movie is pretty funny and entertaining, why interpret it as racism?

Posted by: kristina on April 2, 2004 01:29 AM

Dear E. Koohan Paik,

I feel as if you are looking too deep into this issue of whether or not an obscure little Hollywood movie is racist or not. Though movies have long delved into social issues and political agendas, most people would have to agree that movies are typically made for the soul-adventurer -- those who would like to travel away from reality for a tiny piece of fantasy. Through movies, we can picture ourselves in atypical scenarios, unrealistic situations, and other mystifying experiences that we circumvent through hypotheticals.

I think, therefore, that it is extremely offensive that someone who laughs AT a particular concept is deemed a racist or anything -ist. Just because I laugh AT a baby who falls and stumbles does not make me a baby hater. Just because I laugh AT old people with walkers does not mean I hate old people. And, just because I laugh AT certain characters in hollywood produced films does not mean I am a racist, sexist, ageist, or eliteist. Just because I don't laugh with them does not mean that I am against them.

Of course my point is moot if you are a person who has NEVER laughed AT a racist joke or any jokes made in a derogotory manner. Does laughing warrant a 'racist' designation on the grounds of ignorance or arrogance? Or does it simply deserve a good, mindless, disposable chuckle?

Posted by: Bogey D on April 2, 2004 12:00 AM

I have been looking for the perfect film for my next white supremecist meeting, and lost in translation fills the bill. Thanks for the info y'all!

Go whites! Hooray for us! Down with Asians! Boo! Hiss!

Posted by: Mr. White Power on March 25, 2004 06:55 PM

hehe.. this movie......... I jsut watched the beginning........... I am an Aisan.... but I am NOT Japanese....! Conversely... I am from the place where is going aganist Japan....! well.. I went through the commments down here.... about rasicm...make sure this is toward Japanese people.. not whole of East Asia. peopel say this is not abusing Japannese weakness becaue the shot at begining is about shinning Tokoyo night view.....!hahha.. this argument is dicky..... dont you think only Tokyo has this kind of "nice" night view?? the tourist should go around the other Asian coutries.. such as South Korea, Singapor... or PR China, Hongkong of China, Taiwan!.... people may get the shining view in Tokyo is vain....is dark....! ok... I think this movie pretty much portray the real of Japan and Japanese..... ! should be awarded......! you talk about American looks down on Asian by screening this movie....! ok.... let me put in this way.. the four Chinese actors,bruse Li, Jakie Chen, Jet Li, and jou yong-fat in US Holly wood have suceeded their fliming carrer and still doing well now...! the news that Jakie Chen will make ohter movie with Anode, blablabbka... what does this mean?? everybody can get weather American looks down on Asain or not..! I think if this movie has racism... that is ony presneted to Japanese! see the movie name" Lost in translation" this is teasing no Japanese can even speak proper English to help out foreigners in Japan even in their pride city-Tokyo....... But this cannot mean all other Asians are like this as well.. So... my point of view is............ this movie is a bit racism. But... it is going toward Japanese..... the other Asians should not be involed by this issue....! cheers

Posted by: whatever on March 21, 2004 12:20 AM

First of all, it was good argument.

Many people said that's pretty much the experience when a foreigner faces in Tokyo. I'm a Japanese living in NY for 7 years and brought lots of American (& other) friends to my parents' home in Japan. And they said they experienced those aspects of Japanese as depicted in Lost in Translation.

But wait.

Can you laugh at someone because he/she is short? Yes, that is true. People are relatively shorter in Japan when compared with American people. This is a question about morality. As a film director I think Sophia Copula should have included at least one Japanese character which is totally opposite of the stereotype Japanese. That would have avoided promoting one-sided view of the culture. For example, including a friendly Japanese man who talks perfect English and becomes a friend with Bob. Something like that.
NEUTRAL BALANCE IS THE KEY. You should be aware of it when you make a statement in public. Films are not exception.

And I believe you can make a comedy AND keep the BALANCE. You don't necessarily have to simplify things to be funny. You can still mix up things.

At last, someone mentioned "I think that the idea that this writer is surmizing that this movie is racist towards Japanese on behalf of the Japanese is rather irritating." Even you're not Japanese, you still have right to make fair argument on racism. It is THE RACIST's IDEA which limits the eligibility of speech to one group of people (=Japanese).

Posted by: Era of E. Said on March 18, 2004 01:08 AM

An interesting and well-argued piece, though it's slightly off the mark and seems to miss a few key pieces about the story and the film. The most important being the distinction between Charlotte and her interactions with Tokyo and Bob, and also a misreading of certain key moments of dialogue. You have to look into a strange mirror to find the racism of this line, "Let them be who they are! They're trying to make them Keith Richards when they're just skinny and nerdy." An alternate take on the line (which is probably the intent) would be, "let this band be what they are, which is cool, instead of trying to change them into something you want." Weezer is a skinny and nerdy band. Death Cab for Cutie is a skinny and nerdy band. Shonen Knife has some gloriously skinny nerdy girls in the lead. The line is more of a display of the culture in which John (the photographer) has allowed himself to be emersed. Meanwhile, Charlotte spends most of the movie unhappy--as does Bob. Most of the racist moments of the movie happen near or around Bob, or while Charlotte is under Bob's influence. The audience is charmed by Bob because he's played by likable fellow Bill Murray (in a highly skilled performance), but Bob's behavior is largely reprehensible. Bob doesn't understand anything about Tokyo--least of all why anyone would put his face on a billboard. And he's miserable for most of the film.

Though your commentary and opinion is obviously cast, at some point, watch the film again but pay closer attention to Charlotte and her interactions with the people there. The brightest, funnest moments of the film come when Charlotte and Bob hang out with John's friends from Tokyo--when they embrace Tokyo. Bob can't take it, but Charlotte eventually rejects Bob--and his point of view--as hollow and unfulfilling. The moments where Charlotte comes closest to real happiness are the moments where she does her best to embrace Tokyo (in the flower arranging scene, the scenes with John's friends, the scenes at the temples, etc..). In the end, we're given the hint that she'll embrace Tokyo instead of Bob. She says goodbye to him, and she stays, perhaps to be enveloped by the culture in the same fashion that John already has.

Anyway, that's the movie I saw at least. I found Bob racist--and thought that this was one of the intentions. Charlotte and John, though, seemed to be largely the opposite of the Ugly American that Bob is clearly meant to represent.

Posted by: f. chong rutherford on March 15, 2004 05:49 PM

Racist? What are you talking about?

E. Koohan Paik

Excuse me, but you are making very bold claims for racism. My question is: What right do you have to make such claims? Are from Japan or what type of experience do you have with Japanese culture to make these claims on behalf the Japanese? (Mr. moderator please understand that these are not personal attacks they only are questions to show the pertainence of one's relative experience with a people group in order to scrutinize what is or is not racist to that group) Many of the things shown in the film do exist on a regular basis. In my opinion the movie simply stated outlines a few of the less extreme cultural differences that would make for a very confusing, difficult and concievably entertaining experience for foreigners. Whether or not the characters in this film acted in the most noble way towards the Japanese people could be up for debate. However, they are JUST THAT characters in a movie; only loosely based in reality. I think that the movie only sought to portray a certain circumstance that does often occur with some foreigners brought to Japan by business. (The reality of some American movie stars going to Japan to make commericial during a low point in their career or just to make lots of money has often occured) If anything the movie far more stereotyped Americans and not the Japanese (self-centered and un-willing to prepare oneself to understand/interact with another culture - which honestly many examples can be found in all cultures).
Honestly, I think that the idea that this writer is surmizing that this movie is racist towards Japanese on behalf of the Japanese is rather irritating. I would say that I am far more offended by this article than I would ever be by this film. If a person or group of people cannot look at themselve with at least a little sense of humor (especially concerning the communication problems between cultures) then that is just plain weak. Stop being so sensitive for other people (they often don't appreciate it when one's actions imply that the other person cannot speak for themselves).

Side note - also consider that fact that the mojarity of the actors in this film were Japanese and on Japanese soil. It is my understanding that some the scenes were just of everday Japanese people in everday Japanese life. (Unlike some past truly steorotypical American film where japanese people were not even played by Japanese - i.e. Breakfast at Tiffanys)
As for the French, try not to muddle things by alluding to a stereotype about another culture (it only weakens the point)

Next time please speak for yourself and not a group of people. If you feel personally affected by racism it may be best to speak about that, try not to be offened for others they can speak for themselves.

Posted by: Totetsu Onizuka on March 12, 2004 05:37 AM

Somebody wrote below: "Just imagine a Japanese guy trying to fit in with the the goombahs in The Sopranos or a bunch of Football hooligans in the UK."

That misses my point altogether. I wasn't "imagining" the way Japanese equivalents of extreme subcultures such as mobsters or hooligans would see Westerners. My point was that it is plainly evident that ordinary Japanese (either a majority or at least a huge minority of them), in everyday life display a disinclination to see Westerners as having depth of character. There is at least as much xenophobia here as there is in the USA, and much less navel gazing about it.

Posted by: NOT RACIST on March 10, 2004 07:10 PM

The sadomasochistic *thesis* is a matter of serious debate and may or may not prove informative. Its existence is neither a truth nor simply a stereotype. I could have represented it as part theory part personal knowledge. Point well taken.

More fun to talk about impressions, anyway. A friend once pointed out that Japanese porn regularly features helpless teen girls getting (basically) raped and screaming "No no!" and that American porn features trashy women with an "oh yeah, I'm so baaaaaad" attitude.

****
".... Japanese education is controlled by the Ministry of Education or better yet the Ministry of Training, whose goal is to de-fang people so that behave like sheep. In order to achieve this the ministry cultivated the inherent Masochism of human beings."

Dr. Masao Miyamoto, psychoanalyst, formerly of the Health and Welfare Ministry.

Posted by: NOT RACIST on March 10, 2004 06:38 PM

The movie depicts Japan and Japanese faithfully.
Right wing asians see the movie and it makes them feel insecure because they have insecurities about the way they are.
Racist westerners see the movie and all they see is inferior asian people because they actually think that asian paople are inferior. They feel disguisted by their own racism and blame the movie for it.

Posted by: Nanbanjin on March 9, 2004 04:40 PM

The film is not racist.

In order to understand and appreciate the film, the audience must first be able to accept and recognize that the characters presented in this film are superficial American tourists, and therefore they would act and do what they do (may it be arrogant and clueless about Japanese culture). By the way, I never got the impression that the film was putting Japanese people down in any demeaning way. Japanese people were portrayed as powerful and respectable people. Infact, the shots of the urban city portrayed the energy, complexity, and sophistication of Tokyo.

But back to Bob, Charlotte, the photographer, and the blonde actress. Since the main characters weren't exactly made of professor/philosopher material, instead, were shallow characters that happen to be in Japan for whatever pointless reasons, it's unrealistic to have the same expectations for them as we would for highly cultured and intellectual people. They're goal is to find themselves in this enstranged place and at the end of the film they achieve that. Even though Japan plays the role of helping Bob and Charl. discover their identities, the film never sets up their initial intent to learn about Japan.

The film doesn't make fun of Japanese people anymore than they make fun of American people.
In any case, the story seems to critique the triviality and superficiality of American life. Charlotte seems constantly lost in every aspect of her life. Bob is tired of his life. The workaholic photographer avoids questioning the significance of his existence by taking photos of empty people (for ex: the blonde actress).

Moreover, the comical moments with the prostitute and Mathew are only intended for cheap laughs. And in a way expresses the culture shock experienced by first time Westerners in Japan. Whether or not Mathew's TV Show has been exaggerated in the film, his TV show does exist in real life. It's viable to say that the same fruity and wacky screen persona depicted by mathew's character equally attract and entertain the general Japanese TV audience. So why does it become a big deal when Westerners find the same criteria comical? It's OBVIOUS that Coppola is not trying to say that all Japanese men are like that. That type of conception would be a poor reading on the audience's part.

Finally, "Lip my stockings" is just a comical play with words. American speaking Japanese can be equally as funny. I've taken a Japanese language class, I'm sure my fellow American classmates felt inadequate and clownish on equal amount of times.

Congratulations to Sofia Coppola for winning BEST ORIGINAL SCREENPLAY!

Posted by: on March 9, 2004 01:15 AM

I agree with most of the things you said. Otherness is a two-way street though. Just imagine a Japanese guy trying to fit in with the the goombahs in The Sopranos or a bunch of Football hooligans in the UK.

I don't agree with this line:
"sadomasochism is deeply embedded in Japanese culture"

I think that is an oft-repeated stereotype. That's like saying murder is deeply rooted in American society because there are a lot of serial killers

Posted by: on March 8, 2004 07:50 PM

I wrote the preceding post. I want to add that Bob Harris' rude way of regarding Japanese is ugly and painful to watch at times. I don't enjoy seeing Japanese insulted like that. But that's the way some people are. That doesn't make the film racist.

Posted by: NOT RACIST on March 8, 2004 07:20 PM

I'm an American. For over a decade I have lived and worked among Japanese, all Japanese. Just about everyone in my town is Japanese. (There are a lot of Japanese in Japan.) I love the country and I love the people I live and work with. And, yet, every day at least once or twice somebody treats me like an "Other" with a big O. As deep and mild as I may actually be, they see only that I am a "gaijin" and expect me to be one-dimensional, or sometimes comical or even dangerous. You think this is just MY experience? Think again. Any foreigner will report similar treatment.

Do I hate people for that? No.

Do I wish to sanction them? No. That's just where they're at.

In the Japanese media, Westerners are routinely treated as louder and sillier than we actually are. Otherness, indeed.

But the film Lost In Translation doesn't present Japanese in over-the-top stereotypes or demeaning caricatures. It presents Japanese as they really seem when you first immerse yourself in the society. These things actually happen. Of course the typical Japanes-isms are presented in the film in rapid fire succession and in condensed form so as to fit enough alientation into a couple of hours.

Even the prostitute scene is wickedly on-target. Prostitution is big in Tokyo and sadomasochism is deeply embedded in Japanese culture. And I would say it's rather Japan savvy of Coppola to have scripted the details of her speech, the way she keeps screaming, "Mr. Bob Harris!" (instead of "Bob!" or "Mr. Harris!").

No, really, all these moments show occurances that Westerners actually do experience as strange when they first arrive here. And that's the directorial device at play. Coppola condenses these moments of Otherness to show how lost the main characters feel.

In fact, it's not even a film about Japan. It's about the two main characters and their lives, their meeting, and their interactions with their very Other surroundings.

If the two main characters of the film don't bother speaking any Japanese, that says something about the characters, not the director. (Sofia surely does speak at least some Japanese.) If Bob acts arrogantly toward a Japanese bartender, why shouldn't we see that as a stereotype of the arrogant American? Archie Bunker was racist, but do we therefore conclude that All In The Family was racist television? Normal Lear a racist television producer?

I can't wait for this film to be released in Japan. It opens here next month. Many Japanese will be entranced by it. So seldom do they see their country through the eyes of Westerners. They more commonly seem to feel as if Japan and the rest of the world were entirely different planets. They also expect foreigners to know NOTHING about Japan. Now they can see a film by a Western director who knows a lot about their world. And maybe some of them will begin to see foreigners more as multidimensional subjects than as one-dimensional objects.

Posted by: NOT RACIST on March 5, 2004 05:59 AM

American speakers of Japanese also have trouble with the ra-ri-ru-re-ro sounds. The Japanese "r" is closer to Spanish and Portugese, which is one reason that Japanese people do not have any problems with those languages.

Posted by: on March 5, 2004 01:31 AM

NOT RACIST. If you've ever been to Japan, it is very much like that, believe it or not. LOL Japanese do not "confuse" their "L" and "R" sounds... they don't have that sound in their vocabulary and their mouths are not "used to" making the distinction. It's not mocking them - it's the reality.

Posted by: on March 4, 2004 02:37 AM

Since Sofia Coppola has won an Oscar, I feel newfound in my Asian hatred. I have a stack of Coolie hats I hand out to any Asian person I meet. And I force them to do humourous antics to entertain my need.

I hear that in a few months there will be a law enacted that forces all Asians to work in Chinese food places even if they are not Chinese. And all Asians will now have to wear "I am an Asian!" button wherever they walk.

You people who hate LIT are correct. A new wave of Asian racism is upon us. One that is dipped in ginger and smothered in tasty duck sauce.

In other news, spring is here and the sun is shining. I encourage all conspiracy theorists to turn of their computers and go outside and enjoy the wonderful warmth of a spring day. It can make you feel better.

Posted by: on March 3, 2004 01:27 PM

YES, LOST IN TRANSLATION IS DISTURBINGLY RASCIST IN, PERHAPS, A FORM OF RACISM THAT IS MOST DANGEROUS OF ALL: SUBTLETY. I BOUGHT THIS MOVIE ON DVD WHEN IT WAS FIRST RELEASED BASED ON ALL THE HYPE. AT FIRST VIEWING, I FOUND THIS MOVIE INTERESTING AT FACE VALUE, BUT THE SUBTLE UNDERTONES OF RACISM WERE NAGGING AT ME THROUGHOUT THE ENTIRE 2 HOURS. FIRST OF ALL, THE "CHOP-SAKI" STEREOTYPICAL BROKEN ENGLISH OF OVER-THE-TOP JAPANESE CHARICATURES WAS THE ONLY SOURCE OF HUMOR IN THE MOVIE. UNFORTUNATELY, IT'S AT THE EXPENSE OF ALL ASIANS. AND WHAT I STRUGGLE WITH AS AN ASIAN-AMERICAN IS THAT THESE TYPE OF TYPICAL STEREOTYPES UNDERMINE EQUALITY AND ACTIVE PARTICIPATION IN THE AMERICAN WAY OF LIFE.

Posted by: on March 2, 2004 03:24 PM

We already started campaigning against Banzai. We are preparing for the new webpage for that and meanwhile, I am posting info on such sites as Robot Lounge, Model Minority, yahoo's MANAA2 board, banbanzai board, etc.

Until our site is ready (which will be shortly), please refer to these sites for more info.

Thanks

Tom Roman
Asian Mediawatch

Posted by: Tom Roman on March 1, 2004 10:37 PM

Dear Mr. Roman,
Are you aware that Banzai will be aired on the Comedy Channel? How can your organization let this happen with all of your insider contacts in the industry? Perhaps your organization spent too much time on Lost in Translation, and allowed this to happen. I am VERY disappointed in you. If only you worked a little bit harder, this might not have happened.

Posted by: BanBanzai on March 1, 2004 06:51 PM

Alas, Bill Murray did not win his Best Actor award....but I think this is simply due to the fact that the movie was categolized as commedy. As Sean Penn put in his acceptance speech, there is no such thing as "Best in Acting," so I think Bill Murray should walk tall with his great achievement here. And kudos for Sophia Coppola for writing such a wonderful story.

I was reading some emotionally charged commentaries posted below. Yes, I , as a Japanese, certainly admit that our society certainly has a long way to become a bit more tolerant.... Plus we have not yet resolved some of historical issues, such as war crimes committed by Japanese army during WWII. So I could understand why some people have strong opinions about the attitude of Japanese toward outsiders.

But as I said in my last message, I personally didn't think that the movie was insulting. I did not have any issues with L-R thing or a few other scenes - because that is not simply the main point of the movie.... These things just happen alongside of the main story, which is about a brief connection of the two Americans in a different cultural setting.

Having said that, I have a hard time to understand why Asian-Americans are using this movie to push their own political agenda. Though their point is well taken - there is not a lot of positive Asian images projected in mainstream media in the U.S. - but what does it have to do with this movie?? This movie is neither about the life of Asian-Americans nor Japanese. If you want to see a better example of pure xenophobia, rent "The Rising Sun."

Sophia Coppola could have made this movie technically in any setting, but she chose Japan as the background and I still appreciate the way she showed our country and culture with careful attention to details.

Posted by: KenT on March 1, 2004 05:51 PM

"We would like to thank any Academy voters who listened and agreed with our complaints and also the volunteers in New York, Los Angeles and San Francisco."

I think all of the Academy voters who read this forum (ie: Zero/0/None) are grateful.

Posted by: on March 1, 2004 01:15 PM

About three weeks ago we launched a small campaign called "Lost-In-Racism" to encourage Academy voters not to vote for Focus Features' "Lost in Translation." However with limited resources and time, we were unable
to reach more than a small percentage of the Academy. Lost In Translation is going home with Best Original Screenplay. At least it is not going home with Best Picture or Director, where we think it is the most inappropriate. However, because this film will now be a part of Oscar history, it is more important than ever that we
let the entertainment community know we feel it makes a mockery of an entire nation and race. We would like to thank any Academy voters who listened and agreed with our complaints and also the volunteers in New York, Los Angeles and San
Francisco.

This campaign gave voters (who mostly are working professional in the industry) an opportunity to open their eyes to the issues Asian Americans/Asians face in American entertainment. There are some progresses for the past few years especially in TV shows but this really should be an ongoing effort. Maybe next time when those people make movies or TV shows, they may remember this campaign and make more
effort for better and balanced portrayals of Asian Americans/Asians. If that's the case, I think we are indeed successful. This is not a one shot deal for us. Oscar is over. Tomorrow, we plan resuming more positive activities such as supporting our APA artists and facilitating media-related discussions that are important to the APA (Asian and Pacific Americans) community while we continue speaking up against stereotypical portrays of Asian/Asian American in American entertainment.

We look forward to films that we, as Asian Americans can feel truly proud of in future Oscar Race.

Tom Roman
Asian Mediawatch

Posted by: Tom Roman on March 1, 2004 12:12 AM

Despite the extraordinary politeness to outsiders, no developed country is fundamentally more xenophobic than Japan, and none less deserving of sympathy on grounds of stereotyping.

More than the USA, Australia, UK, England, China or Korea?

Posted by: Learn yer own history first on February 29, 2004 07:21 PM

To those appalled by anti-Japanese stereotyping in LIT: aw shucks. Here in Japan, Caucasians are routinely presented in entertainment contexts as rapacious clods, with huge noses and ginger wigs if it’s comedy (there was one on a prime-time show yesterday, except it was fake ginger sideburns). TV stars with Korean ancestry dare not even admit to it for fear of discrimination. The news media portray ethnic minorities as thankless nuisances, if they bother covering minority issues at all. Newspapers trumpet the rise in foreigner crime here without mentioning the parallel rise in native crime. Crime headlines begin by highlighting perpetrator nationality (“Chinese/Korean/Iranian steals/fakes/kills ..”) And senior political figures like Tokyo governor Ishihara Shintaro regularly demonize foreigners: Ishihara recently warned the SDF to be on their guard against potential ethnic minority rebellions in the event of a major disaster—this in a city where thousands of innocent Koreans were massacred after the 1923 earthquake, an incident that has never even been officially investigated. The result of all this? According to a recent poll, a third of Japanese do not want more foreigners here even as tourists.
I could go on and on but in fact you can learn as much as you need to know about basic Japanese views of foreigners in the train from Narita to Tokyo. For a number of years a loan company had an amusing little ad in which the point was that even aliens are eligible for its finance. Guess how they portrayed the aliens? Right. Caucasians, with plastic stalks coming out of their heads. This on a train used by tourists.

But stereotyping is the tip of the iceberg. Japanese companies operate an almost blanket ban on hiring non-Japanese by blood, except at overseas subsidiaries, where they have to. Over half of Japanese private apartment rental agents will not deal with non-Japanese (50% according to a Nikkei Weekly survey of the late 1990s, more like 80% according to an ethnic Korean acquaintance here.). Bars and bathhouses throughout the land put out signs that say “No foreigners” (or even specify race: a place in Shinjuku has “No Chinese” on the door). Perhaps some the nissei among readers here have had the character-forming experience of being told during a visit that you are not “real” Japanese?
Asian-Americans, thank your lucky stars your forefathers emigrated to the U.S. and not to Japan. The discrimination that happens here every day would not be allowed in any western country, and the fact that there is no influential watchdog body in Japan is testimony to the indifference of the Japanese people to this issue. Despite the extraordinary politeness to outsiders, no developed country is fundamentally more xenophobic than Japan, and none less deserving of sympathy on grounds of stereotyping.

Posted by: on February 29, 2004 07:30 AM

LOST IN POLITICAL CORRECTNESS

[Section deleted - personal attack. - Ed.]

He/She/it/they have the politically correctness motivated, "I am offended at anything" virus. Nevermind that on the same webpage as a similar review on japantoday.com, a Japanese guy is posed the question: "how would you feel if a FOREIGNER moved next door to you?" And the answer isn't totally positive either!!

Racist? If someone from Japan wants to talk about racism, I
would be happy to oblige them. I would love to talk about
the time I was not allowed into a Tokyo bar because I was a gaijin.
I would also like to invite a Chinese friend of mine who, as a foreigner in Japan, receives insults almost daily because of his 'race.' Sexism? I could spend hours, no days, interviwing OL's (office ladies) who have been sexually harrassed at work and whose only presence there in the first place is to find a successful man, married or not. Not to mention how Africans are treated there! You see, THAT
is racism in my eyes. Making a few jokes about Ls and Rs or how the foreigner honestly sees the Japanese for the first time is nowhere on the scale.

As a gaikokujin (gaijin being the short derogatory form used most Japanese)wholived two years in Japan, I saw the film as spot on. I love Japan and its people. Of course, there were little cultural things that annoyed me and small racist situations I had to endure, but I still felt a guest in their country and respected their rules. Guys and girls laughed out loud when I'd playfully mock their use of the English language and likewise when the humour was reciprocal.

Japanese do mix their Rs and Ls. That wasn't concoted for the benefit of the film. I can't tell you how many giggles I've had at some of the words they created, but was always humbled by their knowledge of english and my lack of Japanese. The Japanese are difficult to get to know and sometimes, you never know what meaning they are trying to convey. Most people in the arts are arrogant and Tokyo is no exception. My job there involved the arts.

You see, the point of the movie is to find two people in a critical time of their lives and put them in a strange place to see if they can achieve perspective. I think Sofia succeeded there as no place on earth is like Tokyo.

[Section deleted - personal attack. - Ed.]

Racism is a serious accusation and not to be bandied about by people just waiting, searching, to have their feelings hurt.

As always, the bad points within any culture are more likely
to be the exception than the rule. None of my white or Japanese friends there were racist sexist homophobes and the culturally prejudicial incidents that I did endure were few, but they DID happen.

I would be perfectly entitled to make a film that portrayed
racist Japanese landlords, obnoxiously drunk salarymen,
sexually obscene manga readers, yakuza bosozoku boys and old men with school girl fetishes and it would be totally accurate. Would it be a poor portrayal of the rest of
Japanese society? Absolutely.

So you see, there are many dark secrets within the Japanese
culture itself and I think Sofia Coppola did a very good
job at making light of the lesser ones. If anything, the
Japanese should be grateful she didn't make an
exposé exposing the joke of Japan's limited free-press instead of her movie. Film reviewers should be much more troubled about a recent Tokyo film about mass suicide involving teenage girls. And reviewers should harp less about the details and enjoy the overall picture; it certainly wasn't that flattering to Bill Murray, who played the worst of all villains: a straight, aging, bald, white guy. Regarding racism in Japanese culture as a whole, people who live in
glass houses, shouldn't throw stones.

Posted by: Dean Cannon on February 27, 2004 12:02 PM

Sorry, I have to get another dig in here...
as the writer of this article notes:

"Questions more complex than whether the film is patently racist need to be asked. For example, what is the political and historical context of the film? What, and who, is not shown in the film? What implicit social conventions go unchallenged?"

After all that is answered, when will you find time for the story?

Posted by: Dean Cannon on February 27, 2004 02:39 AM

"We heard the rumor (industry source) that part of the reason Bill Murray was no show at SAG Award was he was pissed at the campaign. Initially he was going to come but as soon as he found out about this campaign, he used work (filming in Italy) as an excuse for not coming."

This is such a statement of arrogance and self-importance it borderlines on parody. Filming in Italy is an excuse?!??!?! Good lord are you people full of yourselves! Could it be that he was simply on another side of the PLANET, heard that the chances of him winning were slim and decided to stay on the film he was working on?

I hear a rumor that Tom Roman is actually Tom Cruise (industry source).

Posted by: on February 27, 2004 12:55 AM

Note to Mr. Watchdog :

Before you push your Asian-American racial politics and lead misguided (and ridiculous) attack on this wonderful movie, could you please check these links and listen to what the people have to say about the movie?

http://www.npr.org/features/feature.php?wfId=1471269

http://www.npr.org/features/feature.php?wfId=1692826

And I'm still inclined to think you either haven't seen the film yet or you are just lack of sense of humor.

Posted by: on February 26, 2004 12:25 AM

Oscar ballots were due today. Which means our campaign is pretty much over and all we can do is wait.

Majority of people at various voter screenings were either Academy voters or Screen Actors Guild Award Voters. SAG's voting block is obviously actors and that has the majority in Oscar voting block as well. And that's where we campaigned heavily. It didn't get Best Actor for SAG Award and hopefully the movie will go empty handed on Oscar night. However, we are bracing for Best Original Screenplay win since there is not much of a competition in that category. But we'll live with one Oscar. As long as it doesn't get Best Picture, Director or Actor.

We heard the rumor (industry source) that part of the reason Bill Murray was no show at SAG Award was he was pissed at the campaign. Initially he was going to come but as soon as he found out about this campaign, he used work (filming in Italy) as an excuse for not coming.

But most importantly, this campaign gave voters (who mostly are working professional in the industry) an opportuniry to open their
eyes to the issues Asian Americans/Asians face in American entertainment. There are some progress for the past few years especially in TV shows but this really should be an ongoing effort. Maybe next time when those people make movies or TV shows, they may remember this campaign and make more effort for better and balanced portrayals of Asian Americans/Asians. If that's the case, I think we are indeed sucessful. This is not a one shot deal for us. Oscar ballot closed today and all we can do is wait. Afterwards, we plan resume more positive activities such as supporting
our APA artists and facilitating media-related discussions that are important to the APA (Asian and Pacific Americans) community.

Tom Roman
Asian Mediawatch

Posted by: Tom Roman on February 25, 2004 02:51 AM

Well, I would like to speak from my personal viewpoint.... Though I am a Japanese national, my opinion by no means represents the whole Japanese population!, so keep that in your mind.

My initial reaction to the movie was that I was very pleased with the way Sophia Coppola captured the sense of displacement and loneliness you feel in a different cultural setting. I was very much relating my own experience, especially during the the time of my transition from Japan to Boston 6 years ago. Yes, Bill Murray's character at times patronized and made fun of "Natives," in this case the Japanese. But who can be perfectly respectful and understanding when you face a different culture? If you can be a saint like that, the world would be much easier place to live. Ask any returned Peace Corps volunteers or anyone who studied abroad - you would have at least a few moment to make you wonder, "What's the hell is wrong with these locals?" when you live overseas.

I thought the movie was taking jab at the typical American attitude as well (Murray's character didn't bother to study Japanese) - I was laughing so hard when Bill Murray's character was left clueless during photo shoots! Sophia did not put any subtitle to these Japanese dialogue and I thought that was brilliant idea.

There have been reviews popping out on some Japanese sites and yes, some of my fellow compatriots took offence with stereotypical depiction of the Japanese. But most reviews were rather positive - many people seemed to have understood that this movie is NOT about Japan or the Japanese, though it takes place in Tokyo. This is is a story of the two individuals who were suddenly thrown into another world and desparately longing for some human connection .... Sophia Coppola gracefully told the tale of this momental bonding with subtlety, not with sappy sentimentalism.

Posted by: KenT on February 25, 2004 12:35 AM

Coppola’s choice of Tokyo is wholly appropriate. Tokyo’s “noise”—its glaring neon lights, load music, video games, etc. creates a sensory overload that is cinematically brilliant. This sensory overload acts as a clear contrast to the silent, thought-intensive philosophical conversations of the main characters.

In order to find yourself or to discover some kind of truth, you must separate yourself from your immediate surroundings. Tokyo acts as the “other” place: a place that is so different that it reveals all the things that are hidden in our everyday lives.

And just because Tokyo is deemed the “other” doesn’t mean Coppola is a racist, an orientalist, a colonialist, or in another other way narrow-minded and evil. Tokyo could very well represent some kind of future—a hyperAmerica that is moving ten times faster. The “other” could be the future.

The “other” could be anything that disturbs our sense of reality and forces us to confront beliefs and ideas that we have long taken for granted.

[Section deleted due to incendiary language. - Ed.]

The film “Lost in Translation” is not racist. It’s funny how people read two books on ethnicity and then start hating every white person that gets near Asian culture.

It’s absolutely ridiculous to think that director Sophia Coppola had any racist intentions and to think that racism is in anyway being promoted by the movie.

Posted by: asian amerikan on February 24, 2004 11:05 PM

As a South Asian American, I completely agree with your analysis of the Japanese characters in "Lost In Translation." But the one saving grace is that Sofia Coppolla also portrays the negativity of some of the Americans - the airhead, blonde Hollywood bimbo and the redheaded lounge / bar singer with the cheesy vocal stylings, with whom Bob has a one-night stand. I would say that Bob himself is a caricature - washed up, aging actor doing whiskey commercials in Japan. Don't know that's my own take. But you do have a point...

Posted by: Sam on February 24, 2004 02:45 PM

The following is the statement addressed to SAG Award Voters last night after the ceremony. Obviously SAG's voting block is actors and actors have the largest percentage in Oscar voting block as well. For that reason, SAG Award is considered reasonably good indicator for Oscars.

--------------------------------------------------------------------------------------

Dear SAG Award voters,

About 2 weeks ago, we wrote you and asked you to vote against "Lost In Translation" for any category in Screen Actors Guild Award. In this
particular case, Best Leading Actor in Motion Picture, Bill Murray, (note: He was the only nominee for SAG Award from LIT)

We are very pleased to see Johnny Depp winning the award instead of Bill Murray. Congratulations Mr. Depp and thank you very much for anyone who voted against Mr. Murray,
regardless who you ended up voting for.

If you also vote for Oscar, we sincerely hope you voted against "Lost In Translation" in any category it was nominated for - Best Picture,
Best Actor, Best Screenplay and Best Director. If you have not sent in the ballot, please do so now. Deadline is 2/24.

According to the recent poll from "Variety"
magazine, the most this movie will get Oscar for will be the Best Screenplay and that's it.
Even that is in danger now since it has become the three way race between LIT, "In America" and "Finding Nemo". For Best Director and
Best Picture, pretty much hands down to Lord Of The Rings and Peter Jackson and for Best Actor, Sean Penn is expanding his healthy lead
for the past week, also Johnny Depp is taking some votes away from Bill Murray.

So it started to look more likely that this movie will go home empty handed or just with one Oscar. Which pretty much the way we wanted.

However, our group's goal is much more than these awards -- to promote fair and balanced portrayals of Asians/Asian Americans in American
entertainment. If you have never thought about this issue before, I hope this provided you with something to think about as you embark
upon your career in this business. If you also write, direct or produce in the future, it would be nice if you add Asian Americans
(esp. male) in something meaty roles.

And please don't forget about Robot Stories
(http://www.robotstories.net/) If you haven't seen it, please check the site and go see it. You'll see many Asian Americans who act like
any one of us, not like anyone you saw on "Lost In Translation" or "Raising Sun."

Whether you intended to help us or not, tonight's vote means a lot for us. Again, thank you very much, especially for those who helped spreading the words.

Best Regards,

Tom Roman
Asian Mediawatch

Posted by: Tom Roman on February 24, 2004 03:57 AM

Sorry for all the racism in movies! I support anyone against racism in movies! I am not racism! DOWN WITH RACIST MOVIES! SHAME ON YOU HOLLYWOOD!

Please come and visit my website! I plan on singing "Burn, Hollywood Burn!" by Public Enemy in honor of your good campaign about racism!

SHE BANG! DOWN WITH RACISM! I AM NOT RACIST!

Posted by: William Hung on February 22, 2004 07:18 PM

Ken,

(1) That notice was pulled immediately after receiving numerous complaints from Asian Americans. Cheryl was fired. (She was only an independent contracter for this project) I believe even some of our volunteers protested.

(2) Had this film been set in Africa or Mexico, for example, I do not think Coppola would have given such a shallow and racist portrayal of a people. Even if she wanted to, studio bigwig would never have let her.

(3) Our campaign is not about the Japanese audience in Japan. When Japanese turn on the television and go to the movies, they have many opportunities to see both positive and negative images of themselves. We are instead concerned with the perspective of the United States audience. As an Asian American in the United States, when I turn on the television or go to the theatre, I seldom see people such as myself portrayed well. I also hear and see racist humor about Asian Americans on radio,television, and film. In a film such as "Lost In
Translation," the Japanese characters are
strange and weird. This is not the worst film
to portray Asians, however neither does it
deserve the prestige of an Academy Award. If
there were more positive portrayals of Asian
Americans in the media to balance the negative portrayals, then the film "Lost In Translation" would not strike such a contrast.

(4)We feel that the film, with its flaws, does not deserve the prestige and recognition of an Academy Award. We understand that people such as yourself enjoy the film for different reasons. However, there are Asian Americans who also find the film offensive. You and I do not need to agree on the film. It is the dialogue on race relations that is important especially within the United States. I understand your perspective and you understand mine. That is a positive outcome and one that I hope to achieve in our campaign.

Tom

Posted by: Tom Roman on February 22, 2004 05:18 PM

Yes… sorry about the first post, please delete it.

---"Casting beautiful Asian women for Warner Bros.' The Last Samurai Premiere After-party to be held in Westwood on Dec 1st.. Women will be dressed as village women and geisha from the film's wardrobe department" ~ Cheryl Rave Entertainment Producer Warner Bros. Special Events

Opps... also remove this post on four very good grounds. First, it is asking ONLY for Asian women (very racist to any other cultures/race). secondly, it's asking for only women (extremely sexist). Thirdly, they only want "good looking", which is blatantly stigmatising against people that do not match up to the directors taste. And very obviously you could not possible be disabled… no way!!!

I could not imagine a post staying too long on your site, asking only for white males. OR is your case actually (like so many others that cry Racism) that you condone this behaviour as long as it runs in your favour??????

Like I told you already….. Racism can be found in any shape or form in almost any place you look. Only some places it’s easier to find, granted. But are you also possible suggesting that the Asians in this film were made to play their parts against there will??? Was a gun put to their heads???? Did their family get taken hostage??? (I’m sure you get the idea). If it did not upset Japanese nationals to act in this manner….. then what HONESTLY does it have to do with you??? And why do you feel the need to act on their behalf when the are not bothered??? Seems like a waste of time to me….. sorry but it does.

Don't forget to remove the other post please... thanks.

Posted by: Ken on February 22, 2004 07:24 AM

Ken,

We don't "search" for racism. It's there. And this is nothing personal about this fight. This affects all Asian Americans. See our campaign site, especially the flyer (PDF format) and you'll know what we're talking about.

The reason why many of pro LIT people's posts got deleted was most of them resorted to personal attack, rather than the issue itself. That's it. Even your post could be gone since it looks like a personal attack to me. Be careful.

Tom

Posted by: Tom Roman on February 22, 2004 02:51 AM

Hi Everyone,
Just wanted to point out that this site also has a pro-Lost In Translation message board located over here:

http://asianamericanfilm.com/boards/dcforum/DCForumID15/53.html#1

Posted by: on February 21, 2004 06:44 AM

[Section deleted - response to personal attack. - Ed.]

In any case, it doesn't really make much difference to me since the campaign is almost over and we are seeing some results anyway.

2/24 is the deadline for Oscars.

Posted by: Tom Roman on February 20, 2004 09:29 PM

Thank you very much for finally stepping up to the plate and start monitoring this forum. I am getting really tired and sick of personal attacks, profanities and so forth. I am also guilty of some of them and those came as a response to those.

Well, in any case, this campaign is almost over. But I am glad that we will be able to finish this in more peaceful note.

Again, thank you very much.

Tom

Posted by: Tom Roman on February 20, 2004 06:01 PM

Dear friends,

My apologies for not monitoring this thread. I've received several complaints and will soon go through the posts and delete anything with a personal attack, regardless of who started it.

UPDATE: I'm going to be aggressive and delete anything which I subjectively deem to be off topic or incendiary. My apologies in advance if I delete something you believe should have been left. But it's critical right now we get this board back to a reasonable tone.

I am certain people on both sides of this conversation will be angry about certain deletions. Please feel free to post again if you believe important comments have been lost. But anything with a personal attack, off topic discussions, or incendiary language will be deleted.

Keep it clean, amigos!

Many thanks and all the best,

Your Editor

Posted by: Editor on February 20, 2004 08:16 AM

[Section deleted - response to deleted posts. - Ed.]

According to the recent poll from "Variety" magazine (must read for Hollywood insiders) the most this movie will get Oscar for will be the Best Screenplay. Even that is in danger now that this campaign is in final dead heat and it has become the three way race between LIT, "In America" and "Finding Nemo". Best Director and Best Picture, pretty much hands down to Lord Of The Rings and Peter Jackson and for Best Actor, Sean Penn is expanding his healthy lead for the past week, also Johnny Depp is taking some votes away from Bill Murray.

So it started to look more likely that this movie will go home empty handed. Which exactly the way we wanted.

Tom

Posted by: Tom Roman on February 20, 2004 05:04 AM

Bob was playing a movie star. A lot of movie stars are spoiled and act that way. Look at Jennifer Lopez, Leonardo DiCaprio, Paris Hilton etc. They surround themselves with an entourage and can walk into any restaurant without a reservation. They have all sorts of silly demands. They hang out in the VIP rooms of clubs.

The movie never says that Bob's actions are correct, nor does it ask us to agree with his actions. Bob is a fictional character, a fading movie star who does not want to be in Japan. He is grumpy and grouchy at times. He slept with the longue singer and Charlotte was jealous. They were in a bad mood when they went to the restaurant. They were frustrated and took it out on the staff. I've seen plenty of movies where a character was rude to a waitress. As Good as it Gets with Jack Nicholson, for example.
Nobody is going to watch the movie and try to copy Bob, a fictional character.

Posted by: on February 20, 2004 05:00 AM

*** SPOILERS SPOILERS SPOILERS SPOILERS ***

The main characters in "Lost In Translation" express negative attitudes towards Japanese culture and people. Such negative attitudes and prejudices directed towards an ethnic group, the Japanese, constitutes racism. The word racism is polarizing in mainstream America but we still need to recognize that racism does not only manifest itself in the form of discrimination and violence.

Look at "Lost In Translation" carefully and you will find anti-Japanese themes. The film relies heavily on Japanese stereotypes for humor throughout the entire film that I find simply disgusting. Let's start at the beginning of the film when important themes are introduced to the audience. What is one of those important themes? Japanese people and things are short and small!

In the beginning of the film, after Bob is greeted in the hotel lobby, and just before he walks away, he says "Great. Short and sweet. Very Japanese. I like that." This comment is a subtle hint to the audience that the Japanese are "short." This comment cannot be dismissed as an innocent remark or as a compliment because the theme of the short and small Japanese is soon repeated in the next scenes. Bob is clearly tired and being sarcastic. Instead, the "short" remark is a hint to the audience of what to expect next. Bob enters an elevator purposely filled with uniformly short businessmen. Also soon after, Bob takes a shower under a short shower head (how odd that a five-star hotel does not know how to cater to Westerners). So important is this theme of short and small Japanese, that it is introduced and reinforced early in the film. The idea is then later repeated throughout the film for more cheap laughs: the small shaver, the small slippers, comments made by Bob and Charlotte, etc. The heavy reliance on this theme constitutes an offensive pattern and reliance on ethnic humor.

Let's take another scene from the film where Bob and Charlotte are in a restaurant, and Bob comments on Charlotte's injured toe. First, Bob recounts his bad experience with one element of Japanese culture: a shiatsu massage; he then expresses disdain for another element of Japanese culture: they eat weird food, he is disrespectful to the native chef, and mocks the Japanese accent -- He directs his statement to the native Japanese chef, who Bob knows does not understand English, and says "See? They love black toes over in this country. This country. Someone's got to prefer black toe. Oh ... 'brack' toe. You probably hang around until someone orders it. Hey what's with the straight face?"

I ask you, when you travel to a foreign country, do you show such disregard as to insult a native by speaking in a mock accent, mocking his mannerisms, and insulting his culture's weird eating habits? Would you actually go into a Tokyo restaurant and insult the chef that way?

I submit to you that "Lost In Translation" did not have to be set in Japan and that the theme of traveling in a foreign land is not essential to the film. The film simply exploits Japanese people and culture for racial humor and commentary. Bob and Charlotte are isolated and lonely as a result of their own individual personal situations. Bob feels alone and far from his wife and family. This has nothing to do with traveling in a foreign country such as Japan. He could just as easily feel isolated on a business trip in any foreign or U.S. city. Charlotte is alone because her husband is either away at work, he does not address her emotional needs, or he engages in meaningless small talk with the ditsy Kelly and the hip-hop artist. These situations give Charlotte the sense of exclusion and isolation. As a result she gets up and walks over to Bob and later spends much time with Bob in the film.

There are just too many examples in the film where characters express negative attitudes towards the Japanese culture such as the theme of the Japanese difficulty or inability in speaking English:
"lock and lo" They're "ridiculous" "skinny and nerdy"
"LIP MY STUCKING! LIP THEM!"
A weird incompetent prostitute
strippers
Bob recalls his night out partying and singing karoake by saying "It's not fun. Just very very different."
You may say that Bob liked "that really really great music" but he was referring to American not Japanese music plus he was being sarcastic. He was exchanging forced pleasantries with his wife, and he ends with "that was a stupid idea"
You may say that Bob wants to "start eating like Japanese food." But he is referring to his desire to eat healthy and not his enjoyment of the food. Later, Charlotte recalls lunch with Bob "That was the worst lunch" and Bob's reply is "So bad. What kind of restaurant makes you cook your own food?"
The "brack toe" scene expressing disdain for shiatsu massage and weird food
"Lets not come here again cuz it will never be as much fun."

And so on ...

I ask you, does any one remember any compliments made by Bob or Charlotte about Japanese culture? As the examples above point out, what may appears to be compliment turns out to be sarcasm.

"Lost In Translation" does indeed express negative attitudes towards Japanese culture and people. And those attitudes are expressed by non-Japanese characters. The theme of traveling in a foreign land was not essential to the film. So, we must ask ourselves "why set the film in Japan," "how is Japanese culture portrayed," and "what are the main characterss attitudes towards Japanese culture." The film exploits Japanese culture for the purpose of racial humor and commentary, and the main characters express disdain for Japanese culture. Inserting brief scenes of the Japanese urban landscape, countryside, temples, video arcades, etc. throughout the film does not absolve the film of its anti-Japanese themes.

Sincerely,

Kai
--
http://www.lost-in-racism.org

*** SPOILERS SPOILERS SPOILERS SPOILERS ***

Posted by: www.lost-in-racism.org on February 20, 2004 03:48 AM

This is for the Last Samurai supporters out there.
How do you feel now?

> > CASTING CALL
> >
> > Casting beautiful Asian women for Warner Bros.' The Last Samurai
> > Premiere After-party to be held in Westwood on Dec 1st.. Women will
be
> > dressed as village women and geisha from the film's wardrobe
department
> > and mingle 'in character' through the party, helping to create the
ambience of
> > ancient Japan, circa 1870's. There is no pay, but a chance to be
part
> > of this year's biggest Hollywood premiere with a guest list
including
> > Tom Cruise and the rest of The Last Samurai's fantastic cast!!
> >
> > If interested please forward a picture and information ASAP to:
> >
> > Cheryl Rave
> > Entertainment Producer
> > Warner Bros. Special Events
> > (818)954-3549 phone
> > (818)954-3011 fax
> > Cheryl.Rave@Warnerbros.com

Posted by: on February 20, 2004 02:12 AM

I will be posting comments at from now on against the Lost in Racism campaign at the Giant Robot site. www.giantrobot.com
I'm not posting here anymore. I'm claiming victory and leaving. If you have guts then post at the Giant Robot site. See you there.

Posted by: Last Samurai on February 20, 2004 01:42 AM

"I don't think this is the case any more. People know that Ichiro Suzuki is Japanese and that Kristy Yamaguchi is Japanese-American."

Yeah, and when Michelle Kwan lost to Sara Hughes (from Long Island) on Olypics, wanna know the headline of some newspapers nationwide?

"American beat Michelle!" "Kwan lost to American!" "No Kwan Do!"

And.... Isn't Michelle American? I believe she was born and raised in CA.

That's the point. This movie will only help taking us backwards.

G

Posted by: Gregory Lam on February 19, 2004 03:48 PM

The white stereotyped characters are essential to the story and for establishing the relationship between Bob and Charlotte. However, the Japanese stereotypes are not essential and exist for the purposes of racial humor and commentary.
3. Charlotte's husband - He often is away at work and leaves Charlotte, neglects her emotional needs, or engages in meaningless small talk with the ditsy Kelly and hip-hop artist to the exclusion of Charlotte. These situations are necessary in order to give Charlotte a sense of exclusion and isolation. This draws her to Bob ... she leave her dinner companions to speak to Bob and spend the rest of the film with him.
4. The lounge singer - Even this character is needed because she sleeps with Bob which causes stress in Bob and Charlotte's relationship.
5. The white rapper guy at the bar - See #3
6. The two white guy businessmen at the hotel bar - This establishes Bob's desire to be alone. In fact they support the idea that this film could have taken place in any city / country. See http://www.lost-in-racism.org/letter2.html which explains why the theme of traveling in a foreign country is not essential to the film.
7. The two fat Germans in the sauna - The serve again to show Bob's isolation.
8. The ditzy blonde actress-Kelly - See #3
9. Bob's wife - Bob's separation from his wife and family and marital difficulties are the main source of his feelings of isolation.
10. The blonde businesswoman who schmoozes with Bob at the end - She serves to show that Bob has a special relationship with Charlotte.

Finally, 1. Bob and 2. Charlotte are the main characters in the film. They are well-developed characters and not caricatures. Audiences enjoy their relationship and empathize with them. White Americans in the United States have the freedom to turn on the television and switch channels or look up movie listings until they find a program with positive white characters to enjoy. Asian Americans on the other see few positive portrayals and instead are more likely to be the targets of racial insults in radio, television, and film. Asian Americans are more likely to find an offensive portrayal of Asian Americans or not portrayal at all.

Take away all the Japanese stereotypes in the film, and place the film in any other country or even any U.S. city and you are left with the same story: Bob and Charlote are isolated by their individual personal situations and are drawn together. This could have happened any city. Rather, you should ask yourself why the film is set Japan and how are the Japanese people and culture portrayed? The answer inevitably is "to exploit Japanese culture for the purposes of ethnic humor and commentary."

Bob and Charlotte DO NOT enjoy Japan and they DO make fun of the Japanese. The use of Japanese stereotypes and expressions of disdain for things Japanese, cannot be dismissed simply because you like other elements in the film, nor can you dismiss the use of Japanese stereotype simply because there are white stereotypes. They just don't cancel each other out.

For a detailed treatment of the main themes in the film that address many of point made by supporters of the film, see the "Letters to Readers" #2 and #3 on our website:
http://www.lost-in-racism.org/letter2.html
http://www.lost-in-racism.org/letter3.html

I discuss the main themes in the film such as the disdain for Japanese culture and people; and why the theme of traveling in a foreign country is not an essential to the film.

Kai
--
Visit our website at:
http://www.lost-in-racism.org

Posted by: on February 19, 2004 09:25 AM

I don't think this is the case any more. People know that Ichiro Suzuki is Japanese and that Kristy Yamaguchi is Japanese-American. They are aware that Jackie Chan is Chinese and Lucy Liu is Chinese-American. People don't go to Takeshi Kitano movies and say, "His movies are so violent...Japanese-Americans also must be violent." They don't go to Hong Kong movies and think that Chinese-Americans are going to shoot each other like in The Killer.
Asian Americans started Yahoo! and eBay. I'm not going to make a dumb comment about "model minority" but just look at the student body at the top colleges in the USA. You should have more pride and not let these little things bother you. I think that most people in the USA have a lot of respect for Asian Americans. True, there are jerks out there who don't like anyone who is different. Do you really think that people are going to see LIT and believe that Asian-Americans also cannot pronounce their L and Rs? Do you really believe that the Asian call-girl scene in LIT changes the fact that 99% of Asian escort services are owned by Asian Americans or Asians with greencards. All I'm saying is don't just go after people from another race like Sofia Coppola and Shaq but also focus on your own community. The Sopranos was picketed by Italians, Barbershop was picketed by African-Americans. I don't agree with their opinions, but at least they had the guts to criticize their own people instead of just blaming "The Man"

Posted by: Last Samurai on February 19, 2004 07:31 AM

Also Japanese society is not as racist as people think. Plenty of Japanese women date African American and African guys. And nobody in Japan stares at them or gives them any trouble. But try being a black/white couple in the USA and see what happens. Or a Black/Asian couple in Chinatown or Koreatown.

Posted by: Last Samurai on February 19, 2004 05:04 AM

Mr. Ted,
You wrote:

The starkest example of racism was the Murray/Funny-Looking-Old-Japanese Hospital Scene where the old man/woman was set up to look like some sort of rodent or something. Interestingly, the scene cuts to a shot where the rodent-person is gone, but is replaced by a softtoy ... of some sort of rodent ...

Now who is the real racist here? You are the one calling this man "funny looking" I'm sorry that he's not as handsome as Ken Watanabe or Takeshi Kaneshiro, but he is a human being. He is a friend of the assistant director. There was nothing wrong with the scene. He was asking Bill Murray how many years he has been in Japan and Bill thought he was asking him his name. This is because nen is the word for year. This scene has been praised by Japanese film critics as an excellent example of a Hollywood actor acting with a non-actor. Ted, you are used to seeing Japanese roles played by Asian American actors such as Pat Morita (Karate Kid) so you aren't used to seeing a real Japanese person in a movie.
It is unlikely that a man of that age would speak English. Does that mean people shouldn't try to communicate. And Bill Murray never used the word rodent. You did.

Posted by: Not Funny Looking on February 19, 2004 01:35 AM

So what you are saying is that Asians should NEVER be made fun of in movies directed by someone who is not Asian? Is this what you're saying? It's okay for a movie like Joy Luck Club to make fun of Asian-Asian men because it was directed by an Asian American. But if a white person directed the same movie then it is not okay. Okay, now I understand. Asians should never be made fun of in movies. LIT made fun of more white people than Japanese. Count them:
1.Bob
2. Charlotte
3. Charlotte's husband
4. The lounge singer
5. The white rapper guy at the bar.
6. The two white guy businessmen at the hotel bar
7. The two fat Germans in the sauna
8. The ditzy blonde actress-Kelly
9. Bob's wife
10. The blonde businesswoman who schmoozes with Bob at the end.

That's a total of 14 white people made fun of.
I think this is fair and balanced. How about you?

Posted by: on February 18, 2004 11:16 PM

YES. Lost In Translation IS racist.

Imagine if the movie was set in Nigeria instead. It would never have been made. It's that simple.

The starkest example of racism was the Murray/Funny-Looking-Old-Japanese Hospital Scene where the old man/woman was set up to look like some sort of rodent or something. Interestingly, the scene cuts to a shot where the rodent-person is gone, but is replaced by a softtoy ... of some sort of rodent ...

Posted by: Ted on February 17, 2004 02:27 PM

I think oriental people are intelligent and refined. Lost in Translation is an offensive movie to my oriental friends and acquaintances.
My wife, who is a beautiful Japanese woman, speaks near perfect English. She does not have problems with Rs and Ls. She thinks this film is a great diservice to the Japan and Asian folks.
I don't understand why there aren't any Asian American filmmakers to counter the other point of view.

Posted by: on February 16, 2004 10:57 PM

A letter I wrote about this film ...

Dear Mike G.

Thanks for writing and sharing your experience in Tokyo. I do most all traveling in the Western United States and enjoy exploring and people-watching.

We do have Japanese Americans in our group and I look forward to them writing to you.

I understand that people such as yourself enjoy the film for different reasons. However, there are also Asian Americans who find the film offensive and potentially dangerous to Asian Americans. As I Chinese American, I find few opportunities in mainstream television and film to see positive portrayals of Asian Americans. More times than not, those portrayals come in the form of racial insults on radio, television, and film. It is bad enough that mainstream media portrayals of Asian Americans are an overwhelmingly lackluster or negative. But to see a large number of of critics ignore or dismiss the issue of stereotypes, and instead attempt to award the film "Lost In Translation" the prestigious Academy Award makes the situation intolerable.

We are about preventing the film from winning such a prestigious award and informing potential voters and audiences of the our concerns. We are not trying to censor the filmmaker's artistic license nor the audiences' right to see the film. We feel we are expressing the opinions as part of an on-going dialog about racism in the United States.

It is far worse that some people refuse to acknowledge our concerns and attempt to dismiss us as being overly- sensitive. Yet, being overly-sensitive may be in many ways preferable to what just occured today. CBS News and Associated Press report that two teens were charged with beating a Chinese delivery man to death in what CBS calls a pattern of teen violence and depravity. To me, the key has always been education of the issues and preventing ignorance, and promoting understanding and tolerance.

I understand and acknowledge your concerns and I hope you do likewise. That is a positive achievement in my view.

I enjoyed reading your letter about your experiences. Thank you for sharing.

Regards,

Kai
--
http://www.lost-in-racism.org
http://www.asianmediawatch.net

Posted by: on February 16, 2004 02:13 PM

I have to ask the same question others have asked already- have you who think it is racist actually been to Japan? I lived in Osaka for 2 years and guess what? I saw many things in this film that resembled some of my time there. The TV can be very "wacky" from an American point of view. Not all of it is that over the top but a lot is. And to those complaining about the poor English speaking abilities of many Japanese shown- most Japanese people do not speak English. Sorry. It isn't like going to Europe or even most of Asia. I have been to Hong KOng, S. Korea and Vietnam and all had a MUCH higher level of English than Japan.
The R and L jokes did wear a bit thin, I agree, but there is a lot of truth to that as well. Japanese has a much fewer sounds than English. There is no L in the language (there isn't really an R that is exactly like the English one for that matter) and things do get mixed up often. When foreign words are written in Japanese the Ls are written with characters that are more like Rs. There was a bar near my apartment called the Pinky Ling and many of my students called Lord of the Rings the Road of the Ring. It happens all of the time. My Japanese was made fun occasionally too. Was that racist? I don't think so.
This movie made me miss Japan a lot because it truly reminded me of much that I witnessed there.

[Section deleted due to incendiary language. - Ed.]

Posted by: on February 15, 2004 10:46 PM

Shall We Dance is the most popular Japanese movie of all time. It made more money than LIT ever will. What do you think of that movie. A nitpicker could say it has stereotypes: Uptight salarymen etc. If Sofia Coppola made that movie, all of you would cry racism.

[Section deleted due to incendiary language, personal attacks. - Ed.]

I also believe the main reason that she is getting the criticism is because she is a WOMAN.

[Section deleted due to incendiary language, personal attacks. - Ed.]

Posted by: on February 15, 2004 08:22 AM

Hiro S.

[Section deleted due to incendiary language, personal attacks. - Ed.]

You know what manzai is don't you? Manzai is Japanese comedy. And the most popular comedians in Japan are from the Kansai area: Downtown, London Boots, Samma, Nakagawa Kei and all of the comedians in Yoshimoto Kougyo. The humor in LIT was no different than the humor that these comedians use on TV. They also make fun of people (including foreigners) and nobody gets upset. Takashi Fujii (Matthew Minami)is also part of the Yoshimoto group and if you watch the DVD of LIT you can see the whole segment with Bill Murray, where he makes Bill touch a live eel. Downtown have a show called Hey Hey Hey where they make fun of all the musical guests, Japanese or foreign. The only person who really freaked out on the show was Mariah Carey. But Ricky Martin was on and he got the humor, and was cracking up while they insulted him. And Japanese comedy shows often feature segments where they go to a foreign country--in Asia or Africa and act silly and make jokes.

[Section deleted due to incendiary language, personal attacks. - Ed.]

Itami Juzo directed Tampopo and that made fun of Japanese society. It was a satire. He also did Minbo No Onna, which made fun of the yakuza and he got his face slashed for it. Takeshi Kitano made a movie in Los Angeles called Brother that featured Black gangbangers and goombah Italian mafia characters and nobody said it was racist.

[Section deleted due to incendiary language, personal attacks. - Ed.]

Posted by: on February 15, 2004 08:07 AM

I thought the film resorted too much to stereotypes. What I have noticed (if it helps) is that the people who seem to love this movie here are bourgeois types. I guess the idea of having unlimited amounts of cash and being the center of attention in a strange land strikes a chord with them. Meanwhile, your self-respecting blue-collar film geeks are underwhelmed. Me? I thought the film was okay, Murray was good, but that the film got away too easy for its superficial immersion in Japanese culture.

Posted by: Ed on February 15, 2004 01:37 AM

Those who claim this movie is not racist are not actually Japanese. If 9 out of 10 Japanese people find a movie offensive, there is something wrong with the movie. As a Japanese, I am sorry, but I have to say that "Lost in translation" is the case. TV Guide's reviewer rightly notes that "humor is too often based in stereotypical perceptions of Asians (they're short, they're laughably polite, they eat weird food, and Coppola shamelessly invites us to laugh along with Murray's character, who, believe it or not, thinks it's hilarious when his hosts get their "r"s and "l"s switched...", If a Japanese director made a movie like "Lost in translation" and its humor was based in stereotypical perceptions of Americans (they are fat, they're laughably self-confident, they only eat hot-dogs and hamburgers), those who gave 9-10 to "Lost in translation" would probably give it 0-1.

Posted by: Hiro S. on February 15, 2004 01:02 AM

The following quote goes more to the definition of racism. However, the film/filmmaker is not completely absolved as the author still points out the film's flaws.

"I don't believe the film or Sofia Coppola is racist. What they are guilty of is perhaps closer to bad taste, ignorance, laziness, insensitivity - sins that don't necessarily add up to racism."

And the author does point out that:

"... the flaws of the film's portrayal of Japan cannot be so readily aligned with the flaws of the characters."

http://www.shortfuse.org/shortfuse/2004/01/lost_in_transla.html

Posted by: on February 15, 2004 12:38 AM

Lysiane Gagnon - The Globe

"Not only did I find it terminally boring, but I was truly scandalized by what I perceived as a crude anti-Japanese rant, bordering on racism."

Posted by: on February 15, 2004 12:21 AM

Kiko Day of the Guardian writes

"Lost in Translation is being promoted as a romantic comedy, but there is only one type of humour in the film that I could see: anti-Japanese racism, which is its very spine."

http://www.guardian.co.uk/comment/story/0,3604,1130137,00.html

Posted by: on February 15, 2004 12:10 AM

[Section deleted due to incendiary language. - Ed.]

he reality is the vast majority of people who have seen/reviewed this film have no race issues with this film. Their campaign only edits and posts the URLs to the very scant number of reviews that are critical of the film. MetaCritic is a neutral website that simply aggregates film commentary from all over the world. It should not take anybody more than a few minutes to scan these reviews and realize that the vast majority of reviewers out there do not see any race issues with this film.

[Section deleted due to personal attacks. - Ed.]

Also, not all Asians who have seen this film are offended in anyway. This is reflected clearly in the Giant Robot forum.

For those who have not been to the Giant Robot forum, here is the link:

http://www.giantrobot.com/forums/showthread.php3?s=74fc6c08e2128124384f2b40c1008bb0&threadid=19213

http://www.metacritic.com/video/titles/lostintranslation/

Here are some very positive reviews if you are having problems accessing that URL:

Boston Globe / Ty Burr:
http://www.boston.com/movies/display?display=movie&id=2795

Chicago Sun-Times / Roger Ebert:
http://www.suntimes.com/ebert/ebert_reviews/2003/09/091201.html

Christian Science Monitor / David Sterrit:
http://search.csmonitor.com/search_content/0926/p14s01-almo.html

Empire / Rob Fraser:
http://www.empireonline.co.uk/reviews/review.asp?id=9722

Entertainment Weekly / Lisa Schwarzbaum:
http://www.ew.com/ew/article/review/movie/0,6115,479937~1~0~lostintranslation,00.html

LA Weekly / Scott Foundas:
http://www.laweekly.com/ink/03/43/features-foundas.php

Los Angeles Times / Kenneth Turan:
http://www.calendarlive.com/movies/reviews/cl-et-turan12sep12,2,5245235.story

New York Post / Lou Lumenick:
http://www.nypost.com/movies/5566.htm

New York Times / Elvis Mitchell:
http://www.nytimes.com/2003/09/12/movies/12LOST.html

Philadelphia Inquirer / Carrie Rickey:
http://ae.philly.com/entertainment/ui/philly/movie.html?id=113312&reviewId=13097&startDate=09%2F19%2F2003

Portland Oregonian / Shawn Levy:
http://www.oregonlive.com/movies/oregonian/index.ssf?/base/entertainment/1063800172273470.xml

Premiere / Glenn Kenny:
http://www.premiere.com/article.asp?section_id=2&article_id=1194

ReelViews / James Berardinelli:
http://movie-reviews.colossus.net/movies/l/lost_translation.html

Salon.com / Stephanie Zacharek:
http://salon.com/ent/movies/review/2003/09/12/translation/index.html

San Francisco Chronicle / Edward Guthmann:
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2003/09/12/DD137747.DTL&type=movies

Seattle Post-Intelligencer / Sean Axmaker:
http://seattlepi.nwsource.com/movies/139154_translation12q.html

Wall Street Journal / Joe Morgenstern:
http://www.hollywoodreporter.com/thr/reviews/review_display.jsp?vnu_content_id=1966939

The Hollywood Reporter / Kirk Honeycutt:
http://www.hollywoodreporter.com/thr/reviews/review_display.jsp?vnu_content_id=1966939

The New Republic / Stanley Kauffmann:
http://www.tnr.com/doc.mhtml?i=20031006&s=kauffmann100603

Newsweek / David Ansen:
http://www.msnbc.com/news/962293.asp

New York Magazine / Peter Rainer:
http://www.newyorkmetro.com/nymetro/movies/reviews/n_9178/

The Onion (A.V. Club) / Nathan Rabin:
http://www.theonionavclub.com/review_pop.php?review_id=6805

And again the list goes on. Many of the people who liked the film are not racists and not blind to racism. But many simply take the film for what it is and do not see paranoid dellusions of racism where they simply do not exist.

[Section deleted due to personal attacks. - Ed.]

Posted by: Name on February 14, 2004 07:56 PM

To AAF Forum,

[Section deleted - response to off-topic posts. - Ed.]

There are commentaries published by independent authors who do address the "Lost In Translation's" heavy reliance on Japanese stereotypes and caricatures for humor. The fact that some reviewers and audience members choose not to address this issue does not negate the fact that the Japanese characters in the film are underdeveloped and are portrayed as one-dimensional stereotypes. It also does not negate the fact that there are real people in our group and real people writing in the forum who exist and are offended by the film.

Here are independent authors do address this issue:

Richard Corliss - Time Magazine
(quoted below)

Ken Fox - TV Guide
http://www.tvguide.com/movies/database/ShowMovie.asp?MI=44868

Gregory Weinkauf - Dallas Observer
http://www.dallasobserver.com/issues/2003-09-18/film.html/1/index.html

and more independent excepts and reviews of the film available at:
http://www.asianmediawatch.net/lost/lost.html

And thanks to the writers in this forum:
Eric
Karen Fujikawa
Yoko Akashi
Mark Yakich

In speaking with members of the motion picture industry attending screenings of the film in LA and NY, the typical reactions are 1) "I don't like the film" and worse) 2) "I like the film" and acknowledgement that the stereotypes are a problem."

Our campaign is about informing the voters of the Academy Awards and other motion picture awards that we are real, that our concerns are real, and that negative effects of this film are real.

Sincerely,

Kai
--
http://www.lost-in-racism.org

Posted by: www.lost-in-racism.org on February 14, 2004 05:20 PM

To AAF Forum,

[Section deleted - response to off-topic posts. - Ed.]

There are commentaries published by independent authors who do address the "Lost In Translation's" heavy reliance on Japanese stereotypes and caricatures for humor. The fact that some reviewers and audience members choose not to address this issue does not negate the fact that the Japanese characters in the film are underdeveloped and are portrayed as one-dimensional stereotypes. It also does not negate the fact that there are real people in our group and real people writing in the forum who exist are are offended by the film.

Here are independent authors do address this issue:

Richard Corliss - Time Magazine
(quoted below)

Ken Fox - TV Guide
http://www.tvguide.com/movies/database/ShowMovie.asp?MI=44868

Gregory Weinkauf - Dallas Observer
http://www.dallasobserver.com/issues/2003-09-18/film.html/1/index.html

and more independent excepts and reviews of the film available at:
http://www.asianmediawatch.net/lost

And thanks to the writers in this forum:
Eric
Karen Fujikawa
Yoko Akashi
Mark Yakich

In speaking with members of the motion picture industry attending screenings of the film in LA and NY, the typical reactions are 1) "I don't like the film" and worse) 2) "I like the film" and acknowledgement that the stereotypes are a problem."

Our campaign is about informing the voters of the Academy Awards and other motion picture awards that we are real, that our concerns are real, and that negative effects of this film are real.

Sincerely,

Kai
--
http://www.lost-in-racism.org

Posted by: www.lost-in-racism.org on February 14, 2004 05:17 PM

For those who have not been to the Giant Robots forum, here is the link:

http://www.giantrobot.com/forums/showthread.php3?s=74fc6c08e2128124384f2b40c1008bb0&threadid=19213

Most people there do not find any racism in the film and those who like--or dislike--the move judge it on criteria other than race. I know that might come as a shock to some, but many people out there are viewing the movie as a movie. Not as some evil carrier of evil supposedly racist themes.

And while one cannot do an armchair racial inventory [section deleted - personal attack. - Ed] on who says what, the vast majority of the readers of Giant Robot are (a) young and (b) Asian American.

In the long run, films like "The Last Samurai" will have more of a negative impact on Asian perceptions in the U.S. since the same people who buy bushido blades off of the Home Shopping Network will now think that any Asian out there is somehow a Samurai expert and has wisdom on the code of honor.

PS: A comment that hints at rumors of racism appear here:

[URL deleted because its length destroyed the layout of the page. For long urls, put them in the "URL" section of the posting form and advise readers to click on your name for the post. -- Ed.]

And just as quickly are dismissed by others.

Posted by: Name on February 14, 2004 03:46 PM

And here's the quote from Time Magazine "A Victory for Lonely Hearts" by Richard Corliss 9/15/2003:

"The movie also makes too much easy fun of the Japanese: that they are a short people who speak in very long sentences and mix up their Ls and Rs. (A prostitute invades Bob's room and orders him to "lip my stockings.") But that's just America's cultural myopia at work abroad. We go there and wonder, Why don't these people speak English? What are they doing here?"

So, again back to our main point of contention ... is "Lost In Translation" with such important flaws worthy of an Oscar? No.

Kai
--
http://www.lost-in-racism.org

Posted by: www.lost-in-racism.org on February 14, 2004 03:37 PM

You are simply wrong. The opinions in the Giant Robot forum are no more valid then the opinions of the people in this forum.

And not "almost all" of the posters there had positive things to say. Most posts were not commentaries at all.

"I am not terribly won over by this ... Bittersweet yes, but a tad trite and one-dimensional as well ... I don't know... I wouldn't see it again."

"It definitely makes fun of Japanese people. Many of my freinds felt this way (Japanese & non-Japanese)as well. Time magazine even mentions it."

Posted by: on February 14, 2004 03:15 PM

I just went to the Giant Robot forum at www.giantrobot.com and almost all of the people posting about LIT have very positive things to say.
Giant Robot is one of the most popular Asian American magazines in the USA. I respect their opinions more than yours.

I also found this on their site.

he New York Times has posted a translation of one of the key scenes in Sofia Coppola's brilliant film "Lost in Translation" which is entirely in japanese, without subtitles.

The scene is brilliant, and seeing this translation in hindsight makes it even more so.

TRANSLATED DIALOG FROM THE MOVIE 'Lost in translation' (from http://www.nytimes.com/2003/09/21/fashion/21LOST.html)

Bob, who is in town to make a whiskey commercial, doesn't speak Japanese. His director (Yutaka Tadokoro), a histrionic Japanese hipster, doesn't speak English. In one scene, Bob goes on the set and tries to understand the director through a demure interpreter (Akiko Takeshita), who is either unable or (more likely) unwilling to translate everything the director is rattling on about.

Needless to say, Bob is lost. And without subtitles, so is the audience. Here, translated into English, is what the fulmination is really about.

DIRECTOR (in Japanese to the interpreter): The translation is very important, O.K.? The translation.

INTERPRETER: Yes, of course. I understand.

DIRECTOR: Mr. Bob-san. You are sitting quietly in your study. And then there is a bottle of Suntory whiskey on top of the table. You understand, right? With wholehearted feeling, slowly, look at the camera, tenderly, and as if you are meeting old friends, say the words. As if you are Bogie in "Casablanca," saying, "Cheers to you guys," Suntory time!

INTERPRETER: He wants you to turn, look in camera. O.K.?

BOB: That's all he said?

INTERPRETER: Yes, turn to camera.

BOB: Does he want me to, to turn from the right or turn from the left?

INTERPRETER (in very formal Japanese to the director): He has prepared and is ready. And he wants to know, when the camera rolls, would you prefer that he turn to the left, or would you prefer that he turn to the right? And that is the kind of thing he would like to know, if you don't mind.

DIRECTOR (very brusquely, and in much more colloquial Japanese): Either way is fine. That kind of thing doesn't matter. We don't have time, Bob-san, O.K.? You need to hurry. Raise the tension. Look at the camera. Slowly, with passion. It's passion that we want. Do you understand?

INTERPRETER (In English, to Bob): Right side. And, uh, with intensity.

BOB: Is that everything? It seemed like he said quite a bit more than that.

DIRECTOR: What you are talking about is not just whiskey, you know. Do you understand? It's like you are meeting old friends. Softly, tenderly. Gently. Let your feelings boil up. Tension is important! Don't forget.

INTERPRETER (in English, to Bob): Like an old friend, and into the camera.

BOB: O.K.

DIRECTOR: You understand? You love whiskey. It's Suntory time! O.K.?

BOB: O.K.

DIRECTOR: O.K.? O.K., let's roll. Start.

BOB: For relaxing times, make it Suntory time.

DIRECTOR: Cut, cut, cut, cut, cut! (Then in a very male form of Japanese, like a father speaking to a wayward child) Don't try to fool me. Don't pretend you don't understand. Do you even understand what we are trying to do? Suntory is very exclusive. The sound of the words is important. It's an expensive drink. This is No. 1. Now do it again, and you have to feel that this is exclusive. O.K.? This is not an everyday whiskey you know.

INTERPRETER: Could you do it slower and?

DIRECTOR: With more ecstatic emotion.

INTERPRETER: More intensity.

DIRECTOR (in English): Suntory time! Roll.

BOB: For relaxing times, make it Suntory time.

DIRECTOR: Cut, cut, cut, cut, cut! God, I'm begging you.

__________________

Posted by: on February 14, 2004 06:32 AM

"But wait! Tom Roman of the lost-in-racism campaign has clearly said "The truth is, it really doesn't matter to us how Japanese audience would react towards the film." So people who are reeally Japanese have no voice in this either?"

No, they don't.

They shouldn't feel bothered by it because they have MANY opportunities to see positive portrayals of their own people on Japanese film and television. However, in the United States, the positive portrayal of Asians/Asian Americans is lacking in American entertainment.

"The reason people continually bring up these other issues is that in the long run "Lost In Translation" will come and go. But the issues of Asian women being abuse and prostituted in the U.S. still exist. The issue of Hawaiin's having a "Kill Haole (Whitey) Day" still exist. The fact that you would spend so much energy fighting against paranoid perceptions of racism yet completetly ignore the abuse and racism in your own community is laughable and pathetic."

We are Asian "Media"watch. Our focus is on promoting a balanced portrayal of Asians/Asian Americans in American entertainment. We all know how media or entertainment play a big role in people's perception in anything. While the issue you pointed out above is equally important, it's not really our job to do that.

"The next time I walk down Canal Street and see frightened Asian immigrants who are forced to sell bootleg goods to pay off their "debts" to the gangs who brought them over I will remember your coincept of racism and race issues and this film and will ask these Asian's how they feel about "Lost In Translation". Technically speaking Eric, these off the boat immigrants who are essentially slaves have a closer relation to their Asian heritage than anyone of Asian decent born in the U.S. And I bet you anything Eric they could care less about this "lost-in-racism" nonesense and be more in need of someone to advocate for their rights/health/life."

Same answer as above. It's really not our job and there are number of organizations that are already working on this issue.

Posted by: Tom Roman on February 14, 2004 03:48 AM

Asians on USENET who do not see LIT as racist in the newsgroups: soc.culture.asian.american, soc.culture.japan, soc.culture.china, soc.culture.korean, alt.asian-movies, alt.movies

Posted by: on February 14, 2004 03:28 AM

Here is a translation of the text from a Japanese website. I just stuck it in Altavista Babelfish but you can get the jist of it.

Babel Fish Translation Help

In English:

Bob Harris of the Hollywood star (Bill Murray), for commercial photographing of the whisky it visited Japan. The neon of primary color does, cramped to the scenery which is visible from the limousine which the one person faces to the hotel with has twinkled. He who receives welcome from the Japanese staff is delightful although you feel also the uncertainty in the country which is not accustomed had started feeling. As for being delivered to labor assistant facsimile from the wife. Feeling keeps sinking to the contents which blame the absence of birthday of the son, gradually. Also the jet lag was piled up, as for Bob passed the night when you cannot sleep. At the same hotel, the husband of the photographer young Charlotte of the wife who is accompanied to work stayed. The ‚è which becomes tired in work and the ‚® ‚Á it does with the being placed next of the husband who sleeps, Charlotte and it was to pass the night when you cannot sleep. It rides in next morning and the elevator and Bob which exchanges Charlotte and the gaze which are adjusted is she heart is rescued in the smiling face which is not the ‚è ‚°. After that, he went to the photographing studio of commercial. CM director explains the scene with gesture hand inclination, but from interpretation "turning round, please look at the camera" and so on, the translating which extremely is short it is not conveyed. Being surrounded in the people where communication does not come off, Bob becomes nervous. The same time, Shibuya also ˜È ‚Þ Charlotte had been wrapped throughout the city in alienation. Even in noise of the people, being in the world of calmness, it is lonesome, it keeps riding She who returns to the hotel telephones in the American friend, but you are moved the flow of time of the world where it is different completely by poignantly. Unwitting while wiping the tear which spills, Charlotte which quietly puts in place the telephone receiver. In order to make unstable feeling settle, Bob who faces to the bar lounge finds the Charlotte form which encounters with the elevator. And, the cocktail of 1 container was sent from her who becomes aware in the gaze of Bob. It was 2 people who start being conscious of mutual existence to sit down and to begin and, the next day, lining up into ƒo[ƒJƒEƒ“ƒ^[, to exchange word.
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Posted by: on February 13, 2004 09:54 PM

Here is a Japan site for Lost in Translation.
http://www.LIT-MOVIE.com/movie/index.html
There is absolutely no controversy over the film at all in Japan. In fact, Sofia Coppola just had a major exhibition of her photos. The idea that the movie is going to be cut because it will have an impact on her clothing line. Milk Fed is insane. First of all, Milk Fed is a minor brand and not many people associate it with Sofia Coppola.

The scene in which Bill Murray talks to the old man in the hospital has gotten positive word of mouth in Japan. He was an old man at a chess club who one of the associate producers knew. And he got the chance to appear in a scene with a well-known American actor and held his own. The scene was funny! Didn't you notice the two women behind them laughing hysterically. Bill Murray has said that he was great. The man can now tell his children and grandchildren that he was in an Academy Award nominated movie.
If any changes are made to the Japanese version, they would probably made to make it longer by including the full hospital and Matthew Minami scenes. Go to Yahoo Japan Auctions. People are selling the US version and advertising it as including more of the hospital and Matthew Minami scenes.

Posted by: on February 13, 2004 09:28 PM

Dear Mr./Ms. "Name"

"while you do post the occassional negative review of the film, the fact remains that most reviewers and regular people viewing the film have never seen a problem with this film nor do they suddenly see any problems now that they have read your material."

We have been distributing flyers in NY since the beginning of this week (NY voter screenings started 2 days ago) and the reaction was overwhelmingly for us. Many of them said "this movie SUCKED!" Some people asked some questions about why this movie is racist and when we explained our position, many people did realize how racist this movie is. So whether you want to believe it or not, people are listening to us and word is spreading out.

"The chances of "Lost In Translation" being released without any edits in Japan is quite good and I think in the long run your self-aborbed group is upset that perhaps the film will be released uneditted in Japan and nobody there will get as upset at it as you and your group seems to be."

The truth is, it really doesn't matter to us how Japanese audience would react towards the film. It is about the American perspective and about the negative depictions of people of Asian decent in American movies and television. This film reinforces negative stereotypes and misperceptions that people have towards Asian Americans. The Japanese in Japan have MANY opportunities to see positive portrayals of their own people on Japanese film and television. However, in the United States, the positive portrayal of Asians/Asian Americans is lacking in American entertainment, compared to Italian Americans or African Americans.

Tom Roman

Posted by: Tom Roman on February 13, 2004 04:32 AM

Also, complaining about the casting is a moot point. Look at the name of the casting director:

Casting by
Ryôichi Kondô

As you can see, the extras were cast by a Japanese casting director. They weren't "pulled off the street" That is an insult to Mr. Kondo, who worked very hard.

Posted by: on February 13, 2004 02:45 AM

I can tell you that in Japan, many foreigners are already using the phrase "Lost in Translation moment". Rather than complain, they just say "I'm having a Lost in Translation moment" and everyone knows what they mean.

It A lot of people DO whine about Japan and the language barrier can be frustrating. I've seen people freak out because their ATM card didn't work. But the movie has made many people realize that traveling to a foreign country is not just making an online-reservation and showing up for the flight. Bob and Charlotte did not want to be there at first. But they had a great night out in Tokyo that changed their outlook. Doesn't anyone remember Bob telling his wife about the great times and how he wanted to get ahold of the music the Japanese DJ was playing because it was so fantastic? What about the scene in which he told his wife that he wanted to eat Japanese food from now on? He described the food as healthier than American food. "I want to start eating BETTER. If the movie ended with both characters complaining about the country and saying how much they hate Japan then it would be offensive. But he changed. People change. The movie showed this. It was more real then a story about Tom Cruise becoming a Samurai.

Posted by: on February 12, 2004 11:05 PM

What do you think about Italian-American groups protesting The Sopranos? Or African-American groups that protested Barbershop because of one line of dialog that was taken out of context?

Posted by: on February 12, 2004 07:38 PM

[Section deleted due to incendiary language. - Ed.]

The chances of "Lost In Translation" being released without any edits in Japan is quite good and I think in the long run your self-aborbed group is upset that perhaps the film will be released uneditted in Japan and nobody there will get as upset at it as you and your group seems to be.

Also, while you do post the occassional negative review of the film, the fact remains that most reviewers and regular people viewing the film have never seen a problem with this film nor do they suddenly see any problems now that they have read your material.

[Section deleted due to incendiary language. - Ed.]

Posted by: Name on February 12, 2004 02:16 PM

[Section deleted - response to off topic post. - Ed.]

and Mr./Ms. "Name",

It often happens that the same movie's Japan version and US version are different in some degree to adjust to each audience's taste. I'm not sure if that's the case with this movie but I won't be surprised if they decided to omit some of the worst stereotypical portrayals. Espacially if they decided that it could hurt her clothing business in Japan which obviously her important source of income. "Pearl Harbor" did a lot of editing for Japan version too. I'm sure what Japanese audience will see in May is going to be at least slightly different from what we see here. US import DVD is available in Japan but many people won't go for it since they tend to be VERY expensive.

[Section deleted. Response to off-topic post. - Ed.]

Tom

Posted by: Tom Roman on February 12, 2004 04:26 AM

Shamelessly stolen thoughts ...

If you insist on criticizing another person's honest best efforts to improve the lives of others, rather than contribute to a good cause of your own choosing, "let not a claim to veracity, or any of its symptoms, get in the way of your own personal cliche."

Posted by: on February 12, 2004 03:16 AM

Too Much Lost in Translation
Letter to The New Yorker

September 22, 2003

Dear Editor,

If I'd been drinking a lot of whiskey, perhaps I would have understood the "gentle and witty" observations of Sophia Coppola that David Denby admires in his review of "Lost in Translation." It is lamentable, if not regressive, that Denby reviews the director–"her second movie at thirty-two" and "she's two-thirds of a great director"–more than the movie itself. The worn-out storyline of an older man smitten with a younger woman is hardly given a new spin, unless setting an American movie in Tokyo is supposed to be fundamentally gentle and witty. The movie makes neither poignant nor subtle observations, not in juxtaposition or in character.

What is present, what is undeniable unless you're blind (since the movie's comedy resides entirely in slapstick gags) is racism. The alleged comedy relies on making fun of the Japanese and their society, mostly their versions of all things Western. Whether it's the way hotel showerheads are built (too short) or the omnipresence of arcade games some of which allow you to jam like an American rock icon, or the stereotyped Japanese deference associated with bowing–all things in Tokyo are slightly off, lightly amusing. Except that they aren't. How many times have you watched a movie in which foreigners and their babble are made fun of because of their "foreignness"? Like the movie's premise, it's an overused trope. And how much different is this dependence on foreignness for comedy than minstrel shows and black face?

But maybe I'm blowing this out of proportion, taking the movie too seriously. Ha ha, just be entertained. The counterargument goes that all this poking at Japanese society is turned on its head, that it is actually committed at Bob's (Bill Murray's) expense. But where? There is no moment, no scene in which Bob, fledging through a midlife crisis that seems more like a teenage bellyache, is made fun of. He makes fun of himself here and there, but at no point is his hubris challenged. Unless of course you want to consider his inability to get Charlotte to make out with him as self-effacing.

Critics uniformly have pointed out that Bob is warm and tender, yet jaded and clever–how most level-headed, middle-class people feel in the world. As Denby points out, Murray (again the actor is reviewed not the character) "has turned into one of the world's most appealing hipsters." Is that a compliment or a criticism? Should we aspire to be a hipster, and if not that, then what should we aspire to in middle-age–to flirting with younger hipsters such as Charlotte?

But there I go again. Too serious. Just revel in the quiet alienation that Bob and Charlotte are experiencing. Feel the trauma of a few days in Tokyo where living is like playing a strange, droll arcade game, one in which you were forced to play, one for which your mother gave you an hour and a half worth of quarters.

The real disappointment in the movie, however, lies more precisely in the missed opportunities for genuine comedy. For example, had the dialogues of the Japanese characters been subtitled and their poking fun at Bob and Charlotte been explored too, the audience would not only get the joke being played on both sides, but also the audience would feel the inherently complicated comedy that occurs when foreigners and natives interact. Moreover, the audience would be privilege to something they cannot experience when traveling abroad: to be both foreign and native simultaneously.

At its best, "Lost in Translation" offers some picturesque overhead shots of Tokyo and snappy lines from Bob with Murray's intrinsically clown-like face. At its worst, the movie wallows in tired narrative and a schadenfreude that is taken to societal, inexcusable levels.

Sincerely,
Mark Yakich

Posted by: on February 12, 2004 02:48 AM

"Just to let people know, this movie has not been shown in Japan yet; it won’t be shown until late spring because they are editing some of the offensive content out so the general audience in Japan doesn’t get offended."

This statement is based on nothing but gossip and no facts. Many U.S. films are released in Japan months after the initial release. No because of reditting but simply because the Japanese distribution system is more more insular and weird than the U.S. system. Basically, there are more hoops to jump through and nothing has to do with editting content. Simple business politics.

Anyone in Japan who wants to see "Lost In Translation" can easilly buy it on U.S. import DVD. Nothing is being hidden and there are no conspiracies.

[Section deleted - off topic personal attacks. - Ed.]

Posted by: Name on February 12, 2004 01:52 AM

Add "The Guardian" to the list of reviewers which includes TV Guide and the Dallas Observer that actually address this film's heavy use of Japanese stereotypes.

"Totally lost in translation - The anti-Japanese racism in Sofia Coppola's new film just isn't funny" Kiku Day, The Guardian http://www.guardian.co.uk/comment/story/0,3604,1130137,00.html

Posted by: on February 12, 2004 01:51 AM

I am from Japan; I have lived here now for nine years. I try to go back and visit my family who lives in Japan every few years. This movie is awful because of its prejudiced and biased image against Asians. All you people who say there is nothing wrong with this movie, need to put yourself in the shoes of Asian Americans here today in this country.

None of you seem to understand what the real problem is here. It isn't that fact that people in Japan like this movie or not. The issue is how will Americans see this film, and view Asians living here in the US. A lot of you think that this movie only reflects on the Japanese in Japan. This is not true. It is a fact that when a person sees a Chinese person, a Japanese person, a Korean or any other person of Asian decent, they don't say oh he is Japanese, he is Chinese, no it’s ASIAN. Everyone is lumped into one big box here. Just like when a person sees an Asian here they automatically assume that that person is a communist, even if they aren't of Chinese decent, or that they weren't born here and can't speak correct English. These are stereotypes that an Asian American has to face every day.

A comment Bob's character makes in the film is something like "Very Japanese, short and simple." Throughout the movie that stereotype was thrown in your face, the shower scene, the elevator scene, showing his slippers that were too small at the end, and so forth. First of all in that hotel is a top rated hotel, they are accustomed to having tourist stay there. If you looked you would have seen that the shower does go higher then that, and she had to exaggerate him making it higher by placing it about the height of his waist. This was done because of the stereotype that Japanese are shorter, ha ha very funny, make white audience laugh. In the Elevator scene, she again exaggerated all the short Japanese people by picking the shortest ones she can find. None of the other Japanese people Bob had contact with were that short. No it was done to get white people here to laugh, ha ha, big joke very funny. Then throughout the movie we kept getting reminded of this fast time after time.

Another stereotype, most people here when they see an Asian they assume he is going to either not speak any English or have a thick accent so you can’t understand them. So she threw in a Japanese prostitute that can’t say the L’s and R’s right. Later on they talk about this fact and question it making the Japanese seam as alien. Then they go and tease the Japanese chef who can’t speak English about slicing of Charlotte’s toe and leaving it there, and how he would like that. What about when they go to the hospital, there is no one to be found who can speak English. In big hospitals like that a lot of doctors speak English and there are always several receptionists who do as well. This was done again to get a laugh out of the white American audience, ha ha, very funny movie.

The scene with Bob doing the commercial, the director would talk Japanese for several minutes and translator would turn to bob and tell him look in the camera and act sincere. Bob would say are you sure it sounds like he said a lot more. Again, they did this for white American audience laughs. Of course he said more, he said a lot more and a real translator would have told him exactly what was said. They did this to make it seem again like the Japanese are these weird people and to get laughs from the American audience.

This movie is dangerous. All this movie does is reaffirming all the stereotypes that Americans already have about Japanese people. If this movie wins and gets any more awards, then people are going to look at Ms. Coppola and her movie as an example and we are going to see more movies like this against Asians.

Just to let people know, this movie has not been shown in Japan yet; it won’t be shown until late spring because they are editing some of the offensive content out so the general audience in Japan doesn’t get offended. The version they show over there is going to be very different then what’s shown over here. As for the Japanese people who did this film and where in it. Each scene takes several hours to shoot. Most Japanese people who are in that scene don’t see any other scene, so they don’t know the end result of this movie and how offensive it is.

This movie sucks. Even without the stereotypes this movie isn’t any good. Ms. Coppola had to show a woman’s a** for 3 minutes just so we get the idea that sexual frustration is there otherwise it would just look like an old guy trying to hit on a younger woman, talk about gross. If anyone other then Ms. Coppola had written this film, it would not have gotten to where it is now.

Posted by: Karen Fujikawa on February 11, 2004 03:44 PM

I recently saw “Lost in Translation”, and I must say that I was offended by it. The more I was thinking about this film, the more it made me angry. The first shot of any film always speaks volumes to me. What was the first shot of “Lost in Translation”? It was a woman’s a**. Through this body part, a**…us…U.S., the director, Sofia Coppola, sees and shows Japan and her characters.

In the film, the Japanese are always portrayed as inferior to the main (Anglo Saxon) characters (Bob Harris played by Bill Murray and Charlotte played by Scarlett Johansson). The Japanese are “funny”, two-dimensional, cartoon-like characters who can’t pronounce English words correctly and often mix “L” and “R” sounds. At one point Charlotte asks Bob Harris, “Why can’t the Japanese speak L and R?” I would like to answer this question. It’s because English is not our native language or even our official language. The Japanese were trying to speak English the best they could out of courtesy to the Americans. Meanwhile the main characters didn’t even attempt to speak one word of Japanese. And let’s not forget they’re in Japan (to Ms. Coppola’s surprise, not the U.S.A).

I was even more disturbed by Ms. Coppola’s portrayal of Japanese women. Besides mocking their English, Bob Harris demeans them with his condescending tone and remarks, saying “thank you” to their private parts, etc. It’s very surprising that a female director made this film. Ms. Coppola seems to view Japanese women as inhuman and without feelings.

In fact, none of the Japanese characters in this film were portrayed as being human or having any feelings. Yet no one in the U.S. mainstream media even picked up on this subtle prejudice. The U.S. media traditionally dehumanizes Asians as a whole, making them an easy target for jokes or as a scapegoat. And that view is the norm for many Americans. But seeing it in this supposedly “intellectual” and “artsy” film was an unpleasant surprise.

Raving reviews, Golden Globe Awards and Oscar nominations for “the best actor,” “the best film,” “the best director” and “the best original screenplay” made me feel even more offended. I do not want my people to serve as a cheap subject for mockery for someone’s career advantage.

I also saw two bored and boring empty privileged Americans who can afford to stay and feel trapped for quite a long period of time in the most expensive hotel in Tokyo. It’s quite hard for me to feel sympathy toward a man who earns “tons of money” from a commercial and thinks it’s a very hard and unrewarding job, or toward a woman who can travel freely without a purpose and still complains. These people’s problems are so out of touch from many people’s lives.

When we see a film, we travel in the soul and mind of the director. I saw a great condescending view of non-English speaking people, racism, and bigotry of the Japanese, all wrapped in a tidy poetic package.

In fact, Ms.Coppola made a fortune selling her clothing line in Japan. That's how she thanks the Japanese people.

This film wasn't shown in Japan, of course, because people would hate it and it won't be good for her clothing business. It's a very cunning business tactic.

I’ve heard that Mr. Francis Coppola, the producer of this film, had bought all the movie rights of Yukio Mishima’s works. I hope he will have a better understanding and respect of the culture by the time he makes films based on Mishima’s works.

Love transforms people, makes them better, and makes them shine. This film was striving to show the birth of compassion between the two lost souls of the main characters. However, the main characters of Bob Harris and Charlotte did not shine after falling in love, their world and world-view remained almost as ignorant, and as two-dimensional as before they met.

I feel more emotion watching “L” and “R” trains passing by in New York City than watching Ms. Coppola’s characters fall in love.

Posted by: Yoko Akashi on February 11, 2004 03:33 PM

Dear Mr. Anonymous,

[Section deleted. Response to off topic post. - Ed.]

I lived in Japan as well. And I have been to some big hospitals like you saw on LIT. My experience is that there were at least one or two English speaking doctor or administrator available to help me when they saw that I couldn't communicate fully in Japanese. If a Hollywood star like Bill Murray's character (he's supposed to be in SANTORY commercial and that's a big deal) shows up, I would think that they would pull any English speaker available to attend to his needs. Even though it's for his friend.

Since you mentioned about "homophobic comment", I would say this. Many of the times, whenever there is an Asian/Asian American male in American TV/Film, he either has no love interest or he is gay. That's the fact. Some of very prominent Asian American actors have addressed the issue. This is why many people took some beef with “The Last Samurai” because Tom Cruise, the white male, got the (Japanese) woman in the end. Compared to other ethnicities, you don't see Asian males paired up with ANY woman often enough (regardless of her racial background). But in reality, you know that's not the case. You definitely see AM/AF couples, sometimes AM/WF or AM/BF couples. So we certainly don't mean to be homophobic, we are just saying that there should be more balanced portrayals for Asian/Asian Americans, in this particular case, male.

About SAG actor issue. I know that there are many non-SAG projects that are excellent. But in this particular scenario, she could have used some of Japan-born SAG actors who live here, instead of grabbing people from Tokyo streets. She actually said she did in one of the interviews. I need to look. I don't recognize all the names you mentioned since I don't live there anymore but that's really besides the point of this discussion board. (I will have to get into all the labor issues actors face here and this is not the place to do it) It makes some business sense in terms of box office appeal to put some famous Japanese cameos though.

Movies we recommend. I admit that there aren't that many. This is what we use as an acceptable standard... How well the Japanese characters being developed in the storyline. It doesn't matter what the character does in terms of occupation. He/she could even be a criminal. Question is, are they portrayed as a human being with blood, tear, joy and all that? So for that matter, we thought "The Last Samurai" was actually acceptable despite the problem I mentioned above. Look at Ken Watanabe's character and you'll see what I mean. "Mr. Baseball" has the similar problem but most Japanese characters are pretty well rounded. "Black Rain" was acceptable too although there were some stereotypical portrayals on both ends (Americans or Japanese). But none of them stooped to the caricature level. Plus Ridley Scott did a fantastic job, visually. Even better than Sofia Coppola, to be honest.

I'll let you know if I think of any other movies.

Regards,

Tom

Posted by: Tom Roman on February 11, 2004 03:04 AM

The humor in "Lost In Translation" relies heavily on the use of Japanese stereotypes. There is a clear divide between the developed main characters and the undeveloped Japanese characters; those that engage in dialog and those that do not; people who we sympathize with and people who are weird and bizarre.

Will an American audience sitting in an American theatre watching this American film see the Japanese as human beings, or will they see only stereotypes? Ken Fox writes "Coppola shows us Japan solely through the eyes of her characters, who see the Japanese as cartoonishly infantile, infatuated with asinine TV shows, karaoke and silly video games. It can be funny, but the humor is too often based in stereotypical perceptions of Asians (they're short, they're laughably polite, they eat weird food)."

Today, I spoke with the audience after a NY screening of the film, and have received overwhelmingly positive feedback. Several people I spoke with immediately expressed dislike for the film. Most were interested and stopped to listen to us. After hearing our objections to the film, they acknowledged that the heavy use of stereotypes is a problem in the film. One viewer was very happy that we were there to provide an outlet for her own fustrations with film and spoke with us at length and encouraged us to provide feedback to Ms. Coppola (this seems highly unlikely). We've heard similar positive feedback from the LA screenings with many people stopping to listen.

I can only hope that these audiences are representative of the motion picture industry overall and that they will not award "Lost In Translation" the prestige and recognition of an Academy Award, SAG, WGA, DGA award, etc.

P.S. Thank you Eric for your positive comments.

Kai

Posted by: lost-in-racism.org on February 11, 2004 02:09 AM

Dear Mr. Roman.

You really should do more research before you make comments. I don't think you realize who was in the film. Here are some names. The commercial director was played by Yutaka Tadokoro, an actor and singer who was also in Tokyo Pop. The people at the party (who your organization lists as offensive) happen to be a group of very creative people, including photographer Hiromix, fashion designer Nobuhiko Kitamura and DJ Kunich Nomura. Even the character of Charlie Brown was played by Fumihiro Hayashi, editor of Dune Magazine. You are the one assuming that they were pulled off the street.

You know, I've changed my mind. I do hope you print your poorly written ad in Variety because it will be the laughing stock of Hollywood, especially this part:

"The humor and lampooning of the Japanese in the film ineffectual film director, strippers, and doctors who assault you with the Japanese language; the stoic arrogant sushi chef; and an emasculate colorful talk show host and partygoers."

The part about "the doctors who assault you with the Japanese language" is a racist and elitist statement.
Have you ever been to Japan? Because I have lived in Japan for 11 years and I can tell you that many doctors cannot speak English. There is nothing wrong with that. Not every doctor in Japan is a graduate of Harvard Medical School. He was polite and tried his best to explain the problem. Would you rather Ms. Coppola have cast Pat Morita in the role, using broken English?

Most distressing is your organizations homophobic comments against Takashi Fujii (Matthew Minami), who your organization smears as an "esmaculate colorful talk show host". Do you have a problem with Mr. Fujii's sexual orientation? Because it seems as though you are offended that he is not "manly" enough. Takashi Fujii is a very popular and beloved comedian in Japan and no one makes an issue about the fact that he is gay--except for your organization.

And how was the sushi chef stoic? You don't explain it at all....

Look, have you ever seen The Player? The movie was about Hollywood, right? You saw how those characters behaved. Bill Murray was playing a Hollywood star. He was rude to everyone. Didn't you notice how he blew off the two Americans in the bar, or the blond woman who tried to talk to him at the end. He was preoccupied, that's all.

And what is this nonsense about using SAG actors? John Cassavettes didn't use SAG actors. There are many talented Asian American filmmakers like Steven Okazaki (Living on Tokyo Time) and Peter Wang (A Great Wall) who used amateur actors in their movies. There is nothing wrong with it.

You criticize LIT but offer no alternatives. In your opinion, what are some films about Japan that people should see? (Not including ones by Japanese directors) I'm curious to hear what you recommend.
Mr. Anonymous

Posted by: on February 10, 2004 08:28 AM

Dear Mr./Ms. Anonymous,

We would be very happy to hear from Ms. Coppola. In fact, we are waiting to hear from her and see how she would respond to our points. Although, we don't expect that to be a possibility.

You copied and pasted articles on this movie from other websites. None of them addresses what we really need to know. She keeps mentioning about Japanese people/crew in Japan. She never addressed the issue of how this could affect the portrayals of Asian Americans/Asians in American entertainment. That's something we really need to hear from her. I don't know if you know her personally but if you do, I would be appreciated if you could forward our website and e-mail address to her and ask her to contact us.

[Section deleted - joke which could be interpreted as personal attack. - Ed]

You said, "I have found that Asian American actors are rarely convincing when they play Japanese people."

I didn't just mentioned Asian American actors. I also said there were MANY Japan-born actors who live here with SAG card Sofia could have used. It's funny that the names you mentioned were the ones who played problematic stereotypical Asian roles. Of course they didn't look convincing because in most cases, roles themselves were already poorly written and questionable.

This movie had the potential to be a 2004 version of “Roman Holiday.” Instead, it stooped to the level of a 2004 version of “Breakfast at Tiffany’s” with its negative portrayal of Japanese characters e.g. the infamous Mickey Rooney portrayal of Mr. Yunioshi. The film represents Ms.Coppola’s perspective and stems from her own experiences in Japan. However, we sincerely doubt that she would portray an African, Jewish, or Latino culture with the same prejudice and insensitivity.

No, she is not OBLIGATED to include major Japanese character in this film because we know that this movie is not about Japan. We simply think that it was not necessary for her to portray Japanese character in this shallow and condescending manner just to create "isolation of two characters". You can have more human contact with local people and still feel lonely. "Roman Holiday" may not have major Italian characters. But it didn't portray Italian people as scary mafia or a bunch of playboys either.

Tom Roman
Asian Mediawatch

Posted by: Tom Roman on February 10, 2004 03:26 AM

Sofia Coppola on the set of Lost in Translation, a comedy about the shallowness of the entertainment industry.

Lost in Translation

05.02.2004 Acclaimed director and famous daughter Sofia Coppola talks to FIONA MORROW about family, Tokyo and how her new film really isn't about her own failed marriage

In Lost in Translation, Charlotte, a bright, well-educated, preppy girl, married to a trendy photographer who takes her for granted, is holed up in a Tokyo hotel room, trying to make sense of her life.

Meanwhile in London, Sofia, a bright, well-educated, preppy girl, divorced from a trendy photographer, is holed up in a hotel room, trying to make sense of her film.

Sofia Coppola - daughter of Francis, the director of The Godfather, and Eleanor, the documentary maker, sister of Roman, also a film-maker; cinematic royalty to you and me - is not known for her way with words. The director of The Virgin Suicides and the aforementioned Lost in Translation possesses a fiercely intuitive visual style and a wry way with observation.

But a natural talker she is not. "Ah, um, my head's not really working today." Her habit is to start a sentence with a promising spark of attitude then drift away from it, leaving it to trail off.

But this vague inarticulacy belies a strong will: Coppola (against her father's advice) wrote the script for The Virgin Suicides when the option already belonged to someone else. (She pounced as soon as that deal fell through.)

The production of her follow-up effort was scarcely less troubled, not least because no one knew if her star - Bill Murray who plays Bob - was going to show up on set.

"Bill's agent hadn't heard from him for months," Coppola shrugs matter-of-factly.

Nevertheless, Coppola signed up Scarlett Johansson who plays Charlotte, and shipped her crew out to Tokyo.

"It was frightening," Coppola concedes. "We were raising money and I didn't want to take someone's money and then not deliver. It was definitely nerve-racking because we didn't have any kind of real contract or anything."

Despite the success of her debut and the improved money-raising powers, Coppola plumped for a modest budget. "I just thought that if I did it so low budget, if it didn't turn out, it wouldn't have to play in theatres," she admits.

No money did have its drawbacks, however. "About halfway through we were falling badly behind schedule and I was being told that we had to cut stuff out," she recalls. "I was, like, no way. So, luckily my brother Roman came over and shot second unit and we were able to to catch up and do everything."

Brother and sister are close: "He's the first person I show my scripts to. He's the person I talk to when I'm writing - we have a similar taste and sensibility."

And what of the big guns: Mum and Dad? "It's hard because ... their criticism can feel stronger than someone else's ... I don't feel scared of showing my dad," she adds, "he's just so into films and young film-makers - he just loves it. And anyway," she adds with a defiant toss of the head, "I think if you like what you're doing then it sort of doesn't matter what anyone else thinks."

Lost in Translation is a comedy about cross-cultural confusion and the shallowness of the entertainment business.

"I just decided, 'Okay, I really want to do this movie before I die'. Not that it was so big a deal, but I'd always wanted to shoot in Japan."

Like her earlier film, this has a dreamlike quality. "I think they are both memories. Also this is through a filter of jet lag. In Tokyo, I found that your view of the city takes on this other quality because you're so jet lagged and it feels kind of dreamy. And the place looks so unreal anyway."

The film is "really personal" to Coppola although she refuses to say how autobiographical it is. Coppola resembles Johansson and, like Johansson's character Charlotte, is an avowed people watcher with an ear for irony.

"I think there is something that I really relate to in [Scarlett's] demeanour," Coppola says, "and I like the fact that Scarlett doesn't look like a typical starlet. I guess there are elements of me from when I was younger, like maybe 10 years ago.

"But, it's also about, like, how these J.D. Salinger characters have this idea of the kind of preppy girl having a breakdown, of how overwhelming life is in this privileged background. I always thought that was kind of funny."

But Coppola snaps back to reticence at the suggestion that Charlotte's obnoxious photographer husband (played by Giovanni Ribisi) is based on her ex-husband, Spike Jonze. "It's not," she answers sharply, then adds, "but there are elements. His character is more like a caricature from Charlotte's point of view."

She lets her eyes go out of focus and she clams up; the subject is clearly over.

She is, however, quickly re-engaged when I bring up the stereotyping of the Japanese characters in the film which have led to accusations of racism.

"I'm surprised," she frowns. "I can see why people might think that but I know I'm not racist. I think if everything's based on truth you can make fun, have a little laugh, but also be respectful of a culture. I just love Tokyo and I'm not mean spirited," she continues, sounding slightly panicked.

"Even on our daily call sheets they would mix up the 'rs' and the 'ls' - all that was from experience, it's not made up. I guess someone has misunderstood my intentions. It bugs me because I know I'm not racist. I think that everything you do, people could be offended by - unless you're just trying to be nice about everyone."

That's not something of which Coppola stands accused. Take the Hollywood starlet character - a thoroughly vapid actress. "She's like a cartoon," shrugs Coppola. "A mixture of all the cliched actresses you see in the media. I was watching this interview today with this girl who was talking about how she likes to chew gum with ice because it makes it crunchier."

The sneer on Coppola's face is priceless. "Are we supposed to be interested in that?" she spits. We turn to the character of the hotel bar singer, washed up and torturing Scarborough Fair.

"She's the real singer in the bar," points out Coppola. It's my turn to look incredulous.

"I know," she smiles. "It was a little bit delicate, but I thought she was a good sport about it."

If the satire in Lost in Translation is unflinchingly sharp, Coppola can do subtle, too. The timid love story between Charlotte and Bob is tender, poignant and mercifully chaste. "It was more about those relationships that you have that are more than friends but less than a love affair," she explains. "There's something so sweet about them that you don't want to see them ripping each others' clothes off." She gives me a look all arched eyebrows: "So no, there was no sex scene that we cut out for the DVD."

I ask if her next film is under way. "I want to get back to writing, but I don't know what yet. I just want to take a break from this story."

Her eyebrows arch: "There are lots of other things I want to be snotty about."

- INDEPENDENT

ON SCREEN

*Who: Sofia Coppola, Golden Globe winner (best comedy, best original screenplay) and Oscar-nominated director

*What: Lost in Translation

*Where and when: Opens today, Rialto cinemas

*Herald rating: * * * * *

Posted by: on February 10, 2004 01:39 AM

From an interview with Ms. Coppola
Why Tokyo?

I had been to Tokyo a lot and it made a big impression on me. People I met there showed me photography that I hadn't seen before, and I listened to different music. It's just an exciting and stimulating place, and I wanted to capture the feeling of that. Also, being an American in Tokyo, you can't read the signs and communicate. It's hard to find your way around. It’s not like anything I had ever experienced before.

Did you ever worry that some of the comedy elements might offend the Japanese?

I wasn't worried about that because I have friends that live there, the crew is Japanese, and I think you can make fun of some things while being there. Just like we make fun of the Americans being there.

Posted by: on February 10, 2004 01:23 AM

Mr. Roman
You wrote the following:
"We do believe that Ms. Coppola knew what she was doing. Except for Matthew Minami (The talk show host), Fumihiro Hayashi (Charlie) and Nao Aska (斗ip my stocking・call girl), all of Japanese characters are people Ms. Coppola picked off the Tokyo street. They are not real actors. She must have figured that Asian American actors or even Asian actors would not want to do such a film because of its content. That is why she picked amateurs.

How do you know what Ms. Coppola was thinking? Have you tried to contact her or spoken to her. You are making a lot of assumptions and you owe her the courtesy of at least asking her to explain some of the accusations in her own words.

You mention that she could have used Asian-American actors. I have found that Asian American actors are rarely convincing when they play Japanese people. This includes Lucy Liu (Kill Bill), Burt Kwok (Banzai, Pink Panther), Mako (Rising Sun), Sab Shimono (Gung Ho), Cary-Hiroyuki Tagawa (Rising Sun), Tamalyn Tomita (Karate Kid II, Picture Bride) and the worst offender of all time, Gedde Watanabe.

The amateur actors in Lost in Translation, with the exception of the actress who played the poorly-written character of the call-girl, did a much better job than any of the above Asian American actors could ever do in the same roles.

Asian Americans have had to suffer through disgusting yellowface portrayals by caucasion actors such as Mickey Rooney in Breakfast at Tiffany and Ricardo Montalban in Sayonara. Hollywood's treatment of Asians and Asian Americans has been horrible. But it is not fair to attack Ms. Coppola or her film because of past injustices. If anything, you owe her the chance to respond to your comments.

Posted by: on February 10, 2004 01:08 AM

I have a few points to make. Where does it say that Lost in Translation is about Japan? Is it advertised as a movie about Japan or a movie that shows the real Japan. It is about two people who happen to meet in Japan. Roman Holiday was a movie about two people in Italy. Were there any major Italian characters in that film? Last Samurai was advertised as a movie about Japan and the focus is on Japan. How about the film Before Sunrise, which was set in Austria? Were there any major Austrian characters in that film. The same can be said for Won Kar Wai's excellent Happy Together, which was about two people from Hong Kong in Buenos Aires. There were no major Argentinian characters and the film worked. No one has the right to tell a filmmaker to include characters that are unnessary to the story.

Posted by: on February 10, 2004 12:52 AM

I have a few points to make. Where does it say that Lost in Translation is about Japan? Is it advertised as a movie about Japan or a movie that shows the real Japan. It is about two people who happen to meet in Japan. Roman Holiday was a movie about two people in Italy. Were there any major Italian characters in that film? Last Samurai was advertised as a movie about Japan and the focus is on Japan. How about the film Before Sunrise, which was set in Austria? Were there any major Austrian characters in that film. The same can be said for Won Kar Wai's excellent Happy Together, which was about two people from Hong Kong in Buenos Aires. There were no major Argentinian characters and the film worked. No one has the write to tell a filmmaker to include characters that are unnessary to the story.

Posted by: on February 10, 2004 12:51 AM

I completely support your "lost-in-racism" campaign. I saw the movie for the first time last night, and left questioning the lack of sensitivity and substance the movie demonstrated in regards to Japanese characters. I can't really discriminate on the disputes with cultural details of the film, as I'm a young Southern California white male, and I'm limited in my familiarity with Japanese culture - but I did not see any depth at all shown in any of the Japanese characters. The entire film takes place in Japan, and there is not one Japanese character for anyone to identify with on a human level. The film feels very shallow, very superficial.

I understand the point the film was trying to convey to the audience with the American characters feeling alienated in a foreign culture, but it came across like they were resentful to be away from home and took it out on the Japanese hospitality. Granted that I could see having a short temper with the combination of jet lag and isolation in that situation, but that shouldn't give the film’s entire sub-plot license to poke fun at a culture. I basically felt like the two stories the film told was of a brief “mid-life crisis” fling between and older man and a younger lost girl – and the other was, “All of these little Japanese people sure are funny, they’re not like my people”.

[Section deleted due to tone. - Ed.]

Posted by: Eric on February 9, 2004 03:05 PM

Dear Mr. Szwergold,

[Section deleted - off topic. - Ed]

(1) The difference between the films you quoted ("The Hebrew Hammer" and "Coming To America") and many of Asian American themed movies in major American market is that you always get the star of applicable racial background in Jewish themed movie or African American themed movies (i.e. Adam Goldberg or Eddie Murphy) but that is not always the case for Asian American counterparts. It probably comes from the fact that there are not too many Asian American actors with a broad box office appeal (we won't count foreign born stars such as Jackie Chan or Jet Li). In any case, if there are more positive portrayals of Asian/Asian American in the US entertainment/media like Jewish or even African Americans for that matter, we probably won't be protesting for "Lost In Translation".

(2) "Banzai" was problematic not only because of its racial caricatures of Japanese, but also because of the fact that this show was falsely promoted as "Japanese game show." You probably know that this is a British import. One of the stunts had to do with handicapped people and some TV station (local affiliate) received a comment such as "Get that Jap show off the air! These Japs think it's funny to make fun of handicapped and I have a handicapped son!" This is very dangerous since Japanese didn't produce the show. It is a bona-fide defamation. That is why this show had to go. Plus this show was on FOX network nationwide, unlike "Most Extreme Challenge" which is on cable. ("Most Extreme..." is a real Japanese import)

If we go after every single stereotype, we will not have enough time. We tend to go for a big fish (no pun intended) and LIT is a big fish because of its prestige. (Oscar nominations) Also Jay Leno (who makes constant racial jokes against Asians) is another one because of its status as number one late night talk show.

(3) We recognize that opinions among APA are divided in terms of which one is more offensive, "LIT" or "The Last Samurai." "The Last Samurai" was at least, respectful for Japanese. (Maybe because it's a period piece) It maybe the fantasy film staged in Japan but Japanese had considerable presence in that movie, while it wasn't the case for LIT. There is nothing wrong with Japanese people copying American culture. The only thing is the way it was portrayed in the movie and you are right, we do feel that it could have done differently. You can have more contact with local people and still feel alienated.

(4) Many of our members/supporters are in "the business", trying to write/produce their own thing. Something that is more connected to their contemporary Asian American experiences. Or could be something that is more universal. We do recognize that the most important thing is to support such people (and these people belong to our "creative wing") while we continue to protest and educate people (we are so called "protest wing").

(5) We do know that in order to film people, you need to either have them sign releases or give them contracts. However, in many of the times, full script is not available on the set. Considering Japanese people's trait, which tend to be less outspoken than we Americans, they either had no idea how the movie is going to REALLY look like or they were told but many of them didn't say anything because they can be in "Hollywood" movie with stars like Bill Murray (who became popular in Japan since "Ghostbusters") For those reasons, we have a feeling that Japanese people were not enough informed about this movie.

Tom Roman
Asian Mediawatch

Posted by: Tom Roman on February 9, 2004 05:41 AM

My name is Tom Roman, the spokesperson for Asian Mediawatch. You can't tell from my last name but my background is so-called Y generation of Japanese American (1/2 Japanese).

http://www.lost-in-racism.org/flyer2.pdf

Above is the link to our campaign flyer that has been given our at various voter screenings.
PDF required.

[Section deleted -- response to deleted off-topic posts. - Ed.]

But still there are a couple of things that have never been addressed.

(1) Never mind about the way Japanese game shows really are. That's not an issue. Japanese people have plenty of opportunity to see positive portrayals of their own people on Japanese movies and television. Unfortunately the positive portrayals of Asians/Asian Americans is lacking in American entertainment. If there are more of those, we don't think this movie would have been an issue. This is not about this movie alone. You need to see this in the big picture.

(2) Had this movie been set in Africa or Mexico, we don't think Ms. Coppola would have given such a shallow and racist portrayals of a local people. It doesn't matter if they are "Africans" or "African Americans". Or what if Ms. Coppola had done this to Jewish people? You see the way Jewish groups have been reacting against Mel Gibson's "Passion".

[Section deleted - response to deleted post, personal attack. - Ed.]

We do believe that Ms. Coppola knew what she was doing. Except for Matthew Minami (The talk show host), Fumihiro Hayashi (Charlie) and Nao Aska (“lip my stocking” call girl), all of Japanese characters are people Ms. Coppola picked off the Tokyo street. They are not real actors. She must have figured that Asian American actors or even Asian actors would not want to do such a film because of its content. That is why she picked amateurs.

This is not just about this movie. This could negatively affect the way Asian Americans will be portrayed in American entertainment for years to come. We hope we are wrong on this. But we are not willing to take such a risk either.

Tom Roman
Asian Mediawatch

Posted by: Tom Roman on February 8, 2004 07:21 PM

--QUOTE--
It's the classic Riefenstahlistic schism between cinematic virtuosity and political cluelessness. (A note of trivia: Sofia, at the age of three, was present at the Telluride Film Festival when her father and Leni Riefenstahl were both feted there in 1974.)
--END--

You are comparing Sofia Coppola via guilt by association--since her father and Leni won an award at the same ceremony--to Leni Riefenstahl; the German director who created such monumental works for Nazi Germany such as "Triumph of the Will".

[Section deleted due to personal attack. - Ed.]

Posted by: on February 7, 2004 11:33 PM

I can see how Lost in Translation could be considered racist.

But this critique is ignoring an important dimension of this film. You cannot make a sincere critique without making an honest attempt to understand the use of irony in this film, and the resulting statement that she's making.

She's has brilliantly chosen an American actor who is virtually only known for his work as a clown. Were she choosing Harrison Ford, or Mel Gibson, then the arrogance would be offensive and there would be a good case for racism.

Instead she's choosing an actor who's richness is only recently being recognized as he breaks out of limited comic roles. He is playing an arrogant Hollywood star who's arrogance is challenged by forcing him to confront his own "otherness". What's falling apart is his sense of superiority as he's confronted with the emptiness of his life and his former values, which he is very clearly projecting onto the Japanese.

That we're seeing the all these dimensions to an otherwise clownish persona, implies that there are hidden depths as well in all the characters surrounding him.

My guess is that Coppola may have even chosen the 'l", "r" mix up intentianal to highlight the artificiality of her construct.

It's always a risk for any artist to work with irony, because you know that some people just aren't going to get it. As well as those who deliberately don't want to get it because they can't get past there own egos, or they think that if they give someone Coppola a break, that there'll be some slippery slope of racist independent films.

Posted by: Juliet on February 7, 2004 07:59 AM

Just to clarify since the wording on this final statement was wrong:

That is the true racism here. The denial that films sometimes portray the world as it is. Races mixing and intermingling and exploring one another. The true racism is in denying this mixing of cultures and expecting a racial purity that is simply unrealistic and in denial of the real world. That attitude is truly xenophobic.

Posted by: Jack Szwergold on February 6, 2004 12:19 AM

"Moreover, the Japanese women in both films are objects of western's desire."

Just to clarify,

[Section deleted due to personal attacks. - Ed.]

neither Charlotte or Bob felt one bit comfortable in that club. And immediately left after Charlotte arrived and pointed out that Charlie (their JAPANESE friend) was getting a lap-dance.

Basically, the only people "titilated" by the Japanese strippers were Charlie--who is Japanese--and his Japanese friends. Charlotte and Bob both took off at the first chance they got realizing that the "club" Charlie recommended to them was a strip club and neither of them felt comfortable in it.

In the USA, have you ever gotten snookered into going to a weird after-hours club? Or odd bachellor/bachellorette party? That's all that scene was trying to convey; sometimes friends invite you to weird places and weird parties and show a side of them you never knew of... And you feel awkward and left...

Posted by: Jack Szwergold on February 5, 2004 08:29 PM

"Moreover, the Japanese women in both films are objects of western's desire. The strip bar scene in "Lost in Translation" is exotically hypnotic, where naked women can bend out of shape to please their customers, most of whom are white males."

[Section deleted due to personal attacks. - Ed.]

Get the DVD and watch the scene again. There is only one or two Asian strippers in the club (the rest are blondes) and Bob is the only gaijin customer. Most strippers at upscale clubs in Tokyo are foreign. And there are plenty of young foreign women from Europe, Asia and South America working in soaplands, fashion healths and image clubs.

Posted by: on February 5, 2004 07:40 PM

Your comments about the Matthew Minami TV show are perplexing. This is a real show in Japan. The comedian who plays Matthew Minami (Takashi Fujii) is a popular comedian. Whether he is gay or not (he probably is) is not an issue. Are you saying that Sophia Coppola had no right to have Bob appear on a REAL SHOW THAT EXISTS IN JAPAN? Is this show too "shameful" to show outside of Japan. Are you in favor of censorship or what? You seem to have issues with the Matthew Minami character.

[Section deleted because of personal attacks. - Ed]

Is this organization part of a vast right-wing conspiracy to curb free speech and attack different lifestyles?

Posted by: on February 5, 2004 07:29 PM

For those who don't know, "Kill Haole Day" translates into "Kill Whitey Day". Kind of funny and disturbing. Especially in the fact that it still occurs in the year 2004.

Posted by: on February 5, 2004 02:26 PM

Why don't you take the $3,000 you are planning on using to put an ad in Variety against Sofia Coppola and make your own film in Japan or Asia?

I am curious to see if an Asian-American could do better. Especially since Asian Americans (and Canadians) like Pat Morita,Gedde Watanabe and others helped to contribute to the stereotypes by accepting roles that degraded Asians.

Why don't you protest Jackie Chan and Jet Li movies? They are filled with "racist stereotypes" of Asians doing kung fu and speaking broken English. I recall that the last Jet Li movie I saw had a scene with Asian prostitutes.

And while you're at it take out ads against John Woo and Ang Lee for showing negative images of Asians and Americans in their films.

Why don't you complain about all of the Asian-Americans who are making a fortune importing Asian porn and selling it online and on eBay, or the Asian-Americans who run massage parlours and escort services that exploit Asian women.

Or why don't you protest "Kill Haole Day" in Hawaii?

Posted by: on February 5, 2004 12:11 AM

"I think the racism in the film stems from a fear of other cultures, particularly after 9/11, which I remember being compared to Pearl Harbour. Many American Japanese still remember the racism and internment during WW2."

This film stems from an experience by someone travelling to a foreign culture and trying to understand it.

[Sections deleted because of personal attacks. - Ed.]

Americans are not afraid of other cultures. American's are made up of other cultures. I honestly bet that few people who are citicizing Lost in Translation are truly connected to the immigrant/fish-out-of-water experience.

I'm the first generation American child of Polish/Jewish immigrants who came to the U.S. back in the 1960s. And a lot of the behavior that this piece perceives as "racist" is simply the way many immigrants behave in new cultures. There's no arrogance involved. But simply people trying to get a feel for a new world. They are fishes out of water trying to adapt. That's it.

If this film were an American fear of foreign culture there would have been a scene where Yakuza and a Ninja broke into Charlottes room and had to be defened by Bob Harris. Then the American Embassy would have to be involved. The American ambassador would then tell them to be wary of the "weird" Japanese. The movie would have ended with another climactic battle where Bob needs to rescue Charlotte from a Yakuza prositution ring. And they all celebrate at the end by celebrating with some geisha's while wearing bad "Engrish" shirts. The Yakuza would bow and say "We are very sorry Mr. Harris and Charlotte..." The end credits would follow a scene where a burly Japanese man hit a hug gong and then said "Sayonara..." Zoom into a close-up of a Buddah waving goodbye as he eats sushi.

Now if THAT happened, THAT would be a racist film.

You paranoid folks need to get a grip and get a clue.

Posted by: Jack Szwergold on February 4, 2004 11:58 PM

""Arrogance" is the operative word here. In "Lost in Translation," not a single attempt is made by Bob or Charlotte to communicate in Japanese."

Bob Harris is in Japan with one purpose. To do commercials and make money. He does not want to be there. Similarly, his relationship with his family is lost.

Charlotte is a newlywed who is having problems relating to her husband. She's tagging along with him in Japan and spends most of her time alone and very lonely. When she calls a friend to have a mini-nervous breakdown even her friend is not relating to her and putting her on hold while she is crying.

Both people are in Japan for 2-3 days at the most. Both of them are lost in their own lives. But find themselves also lost in a foreign culture. A culture they are not insulting to but are foreigners who don't know how to deal with what is happening in any way.

Did they blow off Japanese friends who take them out to bars and such? No. Does Charlotte act indignant while wandering around the hotel and walking in on a flower arranging class? No. She goes with the flow.

[Sections deleted due to personal attacks. - Ed.]

If you have ever travelled ANYWHERE for a short amount of time and find yourself lost in trying to deal with the world around you, that's what this film conveys. You're visiting the culture. You want to learn about it. You're there for a short time. That's it.

Bob and Charlotte are simply lost and confussed in Japan. They are not arrogant at all.

Please go and rent out "Strangers in Paradise" and even "Msystery Train". Both films deal heavilly with foreigners trying to understand the U.S. and such. And in all casese, there is no racism...

Posted by: Jack Szwergold on February 4, 2004 11:19 PM

So I read this statement:
"Even verité-style footage of authentic locals focuses on the Japanese as a sorry lot, preoccupied with cheesifying all things western (the spiky-haired youth thrashing a video-game guitar is shot with Arbus-ian detachment, for example)."

Arbus like detachment?!?!?!?! What film school did they you graduate from? There's no more or less detachment in Charlotte silently exploring Japan--because her husband ignores here--than Holden Caufield exploring NYC.

No critical judgements were made by anything said or done in that movie other than the people who are reading into the film what they want to see.

The thing that's amazing about the film is how it shows all aspects of society you see in a country. You have the businessmen greeting and dealing with Bob Harris. You have people going to shrines and temples and acting out their faith. You have a Japanese director directing Bob Harris with weird creative comments; that director could have been English or German for all it mattered.

If you're unhappy with the way Sofia Coppola portrayed the Japan she experienced and presented, you should be quite unhappy with Martin Scorsese's "Mean Streets" or Spike Lee's "Do the Right Thing". In all cases--incuding "Lost in Translation"--the directors are showing you all aspects of a world. But for some reason you're not seeing.

The only stereotypes that are really a bit overboard are some of the American entertainment cliches you see with Charlotte's boyfriends friends. The hip-hop guy having drinks with them. The Cameron Diaz-esque character. But in reality people like that do exist.

But to put a better perspective on this, if the film were set in Germany, France or Russia the perceived "stereotypes" some people claim to see in "Lost In Translation" would exist in those environments too.

And what's amazing about all this self-created "racism" talk is that at no point do you see someone ranting on and on about Samurai culture and dong kung-fu or talking about how they are "very respectful" and "frugal".

[Sections deleted due to personal attack. - Ed.]

If you want to get upset about Japanese stereotypes, go protest against SpikeTV/TNN and the "Most Extreme Elimination Challenge". Takeshi's Castle is funny as is, but SpikeTV/TNN has dubbed it in with many more insulting jokes and ideas than any scene in "Lost in Translation" ever had.

Protest against Sofia Coppola?

Posted by: Jack Szwergold on February 4, 2004 11:07 PM

"Let them be who they are! They're trying to make them Keith Richards when they're just skinny and nerdy." The subtext here is, when westerners ape the Rolling Stones, it's normal; but when Asian kids fall prey to the same media hype, they're pathetic wannabes. They should be meditating in a dojo somewhere, not playing rock and roll.

You obviously have very little understanding of indie rock. The "skinny, nerdy" comment is not meant as an insult to Asians. Bands like Weezer made the "skinny nerdy" look cool. And bands like the White Stripes could be considered "nerdy looking"without it being insulting.
Cornelius is a popular indie rock star in Japan and he cultivated a "skinny nerdy" look that was very popular and widely copied. Charlotte's husband is a hipster type, the type of guy who read Grand Royal or Dirt Magazine. He was expressing his own personal preferences.

Go to Williamsburg, Brooklyn and you'll see what I mean.
MK

Posted by: on February 4, 2004 10:28 PM

I don't understand your point here:
"Arrogance" is the operative word here. In "Lost in Translation," not a single attempt is made by Bob or Charlotte to communicate in Japanese.

Yes, that is true. But remember, Bob and Charlotte do not want to be in Japan. Yes, they are arrogant, but that was the intention. I live in Japan and have often observed Americans who assume that English is spoken everywhere.

But what about all of the Japanese tourists who visit Hawaii and brag about not having to use English the whole time? Most young people think that EVERYONE in Hawaii is a fluent Japanese speaker. Many Japanese tourists also feel that Japanese is understood by most people in Korea, China, Thailand, Fiji and recently Australia. At the same time there are Japanese people who do attempt to learn a little of the language.

It's as if it were beneath Charlotte to respond with a simple "Konichiwa" when warmly welcomed by an ikebana matron. Worse yet are Bob's bursts of jokey invective directed in English at uncomprehending bystanders, whose only crime is their Japanese-ness.

I thought the ikebana scene was perfect. She didn't know the language but she was respectful. The Bob character is a washed up actor. He was not given the best translator. When a big star like Tom Cruise comes to Japan he is given a fluent English speaker who could translate at the United Nations. A second-rate star often gets a low level company employee, usually a young woman, because no one else wants the job.
When Bob appeared on the TV show, he had a professional translator. And the "Cameron Diaz" character also had a professional translator at her press conference.

People do laugh at accents. Margaret Cho often mimics her mother's Korean-accented English in her routines. And when I saw Kill Bill in Japan the audience howled with laughter when Lucy Liu spoke Japanese.

Japanese-speaking gaijin (including Asians) are often made fun of on Japanese TV, and the same shows mock Japanese people's poor attempts to speak English. (Check out Kara-Kuri TV)

And nobody mentioned that LIT is one of the only Hollywood movies set in Japan that doesn't use fake "oriental" music but has a great soundtrack

Posted by: on February 4, 2004 10:08 PM

I have one major question for all the people who are complaining about racism in LIT: HAVE ANY OF YOU EVER SEEN A JAPANESE FILM? Japanese films also contain so-called stereotypes about their own culture. Look at all the yakuza and low-lifes in movies by Takeshi Kitano and Takashi Miike. If a Westerner made these films all of you would be whining about negative portrayals of Japanese. Check out Miike's DEAD or ALIVE and get back to me.

None of you mention that many of the Japanese charaters are actually non-actors and friends of Sofia Coppola. They are just being themselves.

The only scene that didn't work was the call-girl scene, but this is because the actress playing the role overacted. Yes, it should have been done better. But nobody is perfect.

Go to a Japanese video store and look at all the movies on the shelves. Tell me what you see.

Posted by: on February 4, 2004 07:46 PM

Posted by: Matthew Kaufman on February 4, 2004 07:46 PM

Whatever. The fact is all characters in LIT other than Charlotte and Bob are superficial and laughed at, whether white or Asian. Not every character in LIT had trouble with R's and L's and not every Asian character was like the talk show host. The audience has to laugh sometimes at other's expense. And they did; at Bob's, Charlotte's, the singer, the ditsy starlet, and some Asians' (it was shot in Tokyo).

Posted by: Jon Dean on February 3, 2004 01:19 AM

Hi,
I had to walk out of LIT. I am baffled as to why it has been lauded so. Apart from images of Tokyo and Scarlett Johansson in her underwear, what else has it got to offer? It displays crass stereotyping of the Japanese at best.
I think the racism in the film stems from a fear of other cultures, particularly after 9/11, which I remember being compared to Pearl Harbour. Many American Japanese still remember the racism and internment during WW2.
As you alluded to in your article, Japan is, in many ways a superior country to the USA (except in the technology of death). From the USA's point of view, this sticks in the craw a little.
Finally, if you are reading this Sophia, the Japanese do not use the 'L' sound, so your 'lip my stockings' gag does not make sense.

Posted by: Mark Simmons on February 1, 2004 05:02 PM

Just one more thing. Can someone send this review to Sophia Coppola? She needs to hear it. Not to bash her film, but every filmmaker needs to hear intelligent healthy critiques of their works. The film certainly has its artistic merits, but there is an undercurrent theme she may not be aware of.

Posted by: pearl park on January 30, 2004 12:12 AM

I saw this movie and felt similarly. Sophia Coppola's treatment of the Japanese as incomprehensible others is clear and somewhat used artistically as the backdrop for the romance; however, she assumes a white audience who will identify with the white characters saying stupid ethnocentric things like why do the Japanese get their r's and l's mixed up. And it bothered me terribly that I couldn't enjoy the film. I felt that it had racist undertones from one of the beginning scenes when Bill Murray is shooting the commercial. Though the title, ironically, is "Lost in translation," you never quite know what was lost in translation because they never disclose what meaning if any was lost. They don't delve that deep. It's just a silly soundbite title. The director speaks for a few paragraphs and the translator interprets the statements in a few English words. And then the audience laughs. They're cheap laughs. Language reflects culture and it is nearly impossible to translate statements literally without explaining the social reality of the culture from which it is coming from. I would have like to have seen more insight from both angles. I think it would have taken the film to another level.

I can't believe this film has won so many awards.

Posted by: pearl park on January 30, 2004 12:00 AM

Lost in Translation exp[oses us to a race. I don't think it is racist. It widened my curiosity about Japan. I thougth it showed a beautiful country and beautiful people. Funny too.

Posted by: James Panozzo on January 29, 2004 03:55 PM

I am half-Japanese. I was born in Japan and have lived here off and on for more than 20 years. The portrayal of Japan and the Japanese in the film is accurate. People who live here know this. The Japanese do mix up their R's and L's. But there are a lot of stranger things about Japan that could have been in the film.

Those calling the film racist are looked upon as ignorant by those who live here. If you want to know about racism, you should try living in Japan. Having lived here the last 12 years as an adult, I have come to see that there is a very twisted, sadistic, dark side to the Japanese. You may not see it because they would never reveal it in their "tatemae", but it exists in their "honne". Explanations of these concepts can be found on the web, for example here:

http://www.thejapanfaq.com/FAQ-Primer.html

In fact, there is a lot of info about Japan on the web. Do you know what Burakumin is? If you did, I don't think you would be defending Japan against racism. Are you up on the extremely sadistic murders in Japan? How about the cruel prison system here that is being protested by Amnesty International? Do you believe there is freedom of the press here? Do you know what they did to the Koreans living in Japan in the aftermath of the Great Kanto Earthquake? Did you know the public prosecutor in Japan wins 99.8% of all cases? Do you know why the mayor of Nagasaki was shot and killed? Or why a foreigner here founded Animal Refuge Kansai? Are you aware of the many racist and sexist remarks made by popular Tokyo governor Shintaro Ishihara? Did you know that 86% of Japanese/non-Japanese marriages end up in divorce? That schoolgirls prostitute themselves in order to buy name-brand bags? And that teachers are among their customers? Do you know what a parliamentary member said after a recent vicious gang rape of a woman? How about what is written (and not written) in Japanese textbooks about WWII? The viciousness of school bullying? Discrimination against foreigners?

You might look into these things to see whom you are defending.

Posted by: Gaijin on January 29, 2004 06:27 AM

I think that it wasn't deliberately being racist. The fact that the people around him couldn't relate was just there to make a point. Even his wife who he was married to for 25yrs didn't get him. He was in a land where nobody understood him except one other lonely soul. I'm sure most of us can relate to this dilema right where we are.

Posted by: Gershon on January 28, 2004 03:15 AM

Awesome article Camera Obscura...especially the commentary on sexism.

I'm in the camp that thinks the film makes a mockery of Asians - that's racism....maybe not to a white person, but to me it is. Coppola did a wonderful job of cramming every negative Asian stereotype into her film. short Asian guys are always good for a chuckle. And of course you need the "skinny and nerdy" Asian kids and the obligatory Asian whore.

Cheap racist humor underneath the "art film" exterior.

Posted by: Lost in Racism? on January 18, 2004 08:24 PM

JUST GROW UP!!!

I don't think "Lost in Translation" is a great movie, and it should not deserve so much publicity and nominations, but it is absolutely NOT racist.

Admit it, Bond movies could be 1000 times more racist to Asians if you want to argue about racism in films! Umh, what about Austin Powers' "Fuk Yu and Fuk Mi"? Oh my god, they're making fun of Chinese language, and women!?

We should not get so sensitive right away when a movie like "Lost in Translation" has depicted some negative elements of the Asian culture. The background of "Lost in Translation" could be Paris, or Greece, or Spain, or Africa, or India... From the eyes of a tourist/ foreigner, of course you'll find bizarre behaviors from the locals and feel out of place! If you've been to Japan, and/ or grew up watching Japanese cartoons and TV shows, "Lost in Translation" has given you a very straight forward and honest perspective of Japan, Japanese, and the subculture. Sofia Coppola might have skipped many other great qualities of Japan in her film, but her story is not about Japan. She doesn't have to spoon- feed her audience on Japan, and I'm glad she didn't.

On the contrary, if you still want to believe there's racism in "Lost in Translation", it is probably more racist to the Americans. Don't forget we are seeing Japan through the eyes of two American tourists, not to mention, they are in Japan for business, not for pleasure. I wouldn't blame them for being shallow and unappreciative, because they didn't choose to travel to Japan. They don't care. They're overwhelmed by their own personal problems. Have you ever gone on a business trip while you're going through personal problems? It wouldn't matter if you're assigned to the most beautiful place in the world, you'll still unable to fully enjoy it.

Has anyone seen "Better Luck Tomorrow"? What do you think of the way Justin Lin portrayed Asian Americans in Orange County? Is he being racist cuz' he has given a bad name to Orange County's Asian Americans...

Posted by: Karen on January 15, 2004 11:22 AM

Yes, there are many elements of exoticism of Japan in "Lost in Translation." The nation of Japan is portrayed as zany and off-beat with extreme exaggerations. Another film that portrayed Japan as a zealous nation is "The Last Samurai."
It is quite interesting to juxtipose these two films side by side. The similarities, not in terms of characters and plots but tone and attitude, are starkling. In both films, Japan is seen as the "Other." Despite the fact that Tokyo is one of the most advanced cities in the world, it is painted in "Lost in Translation" as a jungle of strangeness and loneliness. Behind the facade of cultural irony, the Japanese people are seen as emotional buffoons. In "The Last Samurai," the hero of the film is a white man who tries to "civilize" the primitivenss of Japanese culture.
Moreover, the Japanese women in both films are objects of western's desire. The strip bar scene in "Lost in Translation" is exotically hypnotic, where naked women can bend out of shape to please their customers, most of whom are white males. In "Last Samurai," the female character falls in love with the white hero. In her eyes, he is a pillar of morality and civilization. Whereas, the Japanese samurais are semi-savages.
Don't get me wrong, both are good films. I strongly recommend "Lost in Translation." Sadly, in the year of 2003, we Asian American writers and artists are still struggling behind.
Let's hope that it will be better in the year of 2004.

Posted by: Tony on January 6, 2004 01:13 AM