Film and Theater Book/movie review

Response to theater questions
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Question 3
One of my most favorite characters of modern cinema Bob Harris played by Bill Murray in the film Lost in Translation (2003). Bob’s characterization – led by the writer, producer, and director Sofia Coppola. This has an unparalleled amount of depth that keeps me fully engaged with the film throughout. The extent of characterization speaks to the demand that characters in a movie must possess independence of intention, expression, and motivation (Cohen, 2006).
In the film, Bob’s depth is primarily achieved in layers. The first being the way Bob reacts to the world that at the beginning of the film that is comprised mostly of anonymous Tokyo hotel that he indicated. At this beginning, he is best described as depressed and curmudgeonly. He is blunted by a hefty dose of dark and sarcastic humor in his expression. This layer is peeled away following his meeting and subsequent romance with Charlotte who both met at the hotel bar. His interactions with Charlotte reveals to the viewer his second layer, that of having a total lack of excitement in his life that is controlled by his wife and two children who do not want him even to speak to Bob on the phone. Charlotte’s interest in him creates his character and reveals his intention to the viewer. This includes the escape from the mundane and the reveal of Bob’s final layer of personality. Furthermore, it shows his happiness and dynamic nature when he is released from his constraints.

When Charlotte convinces Bob to explore Tokyo with him, we are able not only to see their relationship develop but also his real personality that indicates his nature of fun and compassion.
The depth of character shown by Charlotte is revealed in stages that allows the viewer to be significantly more sympathetic towards Bob and provides examples of direct and indirect characterization at the same time. For example, the film will indirectly show Bob’s character changing through the colorful clothes he wears. Directly, of course, is the excellent embrace during the last minute of the film which neatly rounds off his ultimate intention to have a romance with Charlotte. Such staging of characterization provides depth at the same time as advancing the narrative; this duality is useful filmmaking.

References
Cohen, R. (2006). Theatre. New York: McGraw-Hill
Coppola, S (Producer), & Coppola, S (Director). (2003). Lost in Translation [Motion Picture].
United States of America: American Zoetrope