Lost in Translation A Communications Centric Analysis

Naturally, and most obviously, one cannot overlook the fact that the shared linguistic similarities and ethnicity that the lead characters share is one of the fundamental components of what helps to develop their bond in the first place (Ott amp. Keeling 2011). As compared to a litany of other movies where attraction and friendship come as a result of some noble action or love at first site, the connection that develops between the two is solely the result of the levels of communication that develop as a result of the unique setting that each of these otherwise unfulfilled yet equally dissimilar individuals experiences.
Though one might be quick to point to the fact that the central plot of the story revolves around the relationship that develops between two Americans within the capital of Japan as a function of cultural attraction in a sea of foreigners, the fact of the matter is that a different subplot exists as well. The filmmakers ultimately present to the viewer two otherwise disjointed and highly different main characters. Bill Murray’s character represents that of a middle-aged unfulfilled businessman whereas Scarlet Johansson’s character represents the drastically younger, yet equally unfulfilled, wife of a photographer. In this way, the subplot of communication that exists is the way that these two individuals. albeit drastically different and bearing little if anything in common other than their ethnicity and unhappiness with the current state of affairs seek to bond and share intimate moments throughout the course of the film. In this way, the levels of communication are contrast as something that is both common to both characters and unique to each in their own way. For instance, rather than focusing upon what traditionally binds two individuals together in friendship or love, the filmmaker seeks to portray a situation in which both Johansson and Murray are drawn to each other out of a shared bond that is built not necessarily upon attraction but rather upon shared fear mixed with the relative ease of communication that they share as a function of the setting that the movie takes place within. In this way, a type of cauldron of communication is developed within which the viewer can seek to analyze and understand more unique and dynamic factors of the way in which humans interact than would typically be possible in a setting in which hundreds or even thousands of ethnically and linguistically similar individuals vied for the attention and communication of one another. A further communications construct that the filmmaker presents is the way in which each of the main characters seeks to build a notion of home within the foreign culture that they find themselves immersed within. Subtle nuances of this homing desire can be seen in the way that Johansson’s character makes and hangs origami designs from her hotel ceiling whereas Murray’s character seems content to merely wander through the motions of everyday life seeking to dull the boredom that exists for him both at his own home and within his home away from home. This