The first time i saw Sofia Coppola's Somewhere i was in a state of delirium, never truly understanding what was going on. Confused by her overuse of held on shot's and never understanding her idea of retreading over familiar ground. Maybe it was down to the sound equipment not working as well as it should. The whole point here is, well exactly that we got the point. But that was only my first attempt (maybe it was seen as a chore by now) but the second time i couldn't look away. Somewhere is possibly like it's opening shot long winded, overly long and showboating the lifestyle of the rich and famous but take it for something else far more quiet and moving and you have Sofia Coppola's question and answer film, perfectly balancing the lifestyle of our (possibly shallow) movie star and the steps that he takes to start over a relationship with his daughter Cleo.
The similarities with lost in Translation are unavoidable, for the first twenty minutes we are treated to Johnnie Marcos (Stephen Dorff) routine life. Movie after movie after movie, hotel after hotel. This time Tokyo is replaced with the Chateau Marmont, Bill Murray is replaced by Stephen Dorff and Elle fanning is the lost Scarlet Johansson. It would be easy to knock off Somewhere, the bubble that surrounds movie stars is once again explored, the theme of alienation is even more prevalent. But what has happened is something more pleasing. Sofia has given us her autobiography.
Johnnie Marco is Stephen Dorff, his relationship with Cleo (Elle Fanning) is his upwards climb towards his part in Somewhere. He's a changed man, no longer searching for what he thought he needed and relishes in the little things.Johnny is disconnected from everyone one around him, even wondering "Who is Johnny Marco". Perhaps or maybe it is Sofia who is completely at the reigns of Somewhere, a movie of forward maturity and intimacy that is often funny and deeply intimate. J
The film could be a way of exploring a past in which Sofia had (she was the victim of scrutiny for The Godfather part 3; she obviously had to hide in hotels until it all blew over). So does that make the film Self indulgent or True. To some and possibly many this will be a overly long, preposterous slice of self indulgent "art" but to some, there's something magical about a film that can hold your attention with possibly nothing happening or maybe allot is happening. Life is not made up of high glossed situations, chases and fantasies, it's of a world where people no matter how famous you can't hide from what needs to be done and that we all have flaws.
The film won the Golden lion at this years Venice film festival, which could mean the film has a lot to answer for. But the real power (possibly not always dramatic power) is the father-daughter relationship. Cleo is introduced to us as a caring 11 year old who See's her father as more of a brother than a father. She's wise for her age but is still vulnerable, understanding the emotions that can be stirred up with a movie life-style. Elle fanning is terrific possibly even at a young age eclipsing her older sister Dakota. But the magic comes down to a natural bond between the two of them, with Stephen Dorff encapsulating what it's like to be a star at the chateau Marmont with the one thing that makes his life special, that odd appearance from Cleo.
The film is often funny, in the same vein as the minimalist style of Lost on Translation. But it isn't as repetitive as you would think, the humour even adds to the development of the characters. Johnnie looks at paid for room service strippers with a child like obsession but eventually falls asleep. Seem familiar. We then see him being, as fathers do, to an ice skating routine which he only slowly gains interest in to finally learn that Cleo had been doing it for three years. Johnnie has missed out and so starts the father and daughter bonding. Johnnie by the end won't be the person he is told to be and learns that his dream needs some rethinking; he has, plenty sitting in a mask, quietly reflecting in his alienation the ways of his life, it's as if he is struggling to break free out of the mask, out of his celebrity lifestyle; parties he is unaware of, mindless sex and the ever prevalent feeling of the movie life not needing him anymore. The character may start shallow but the turning point of walking away from your past and starting a fresh changes Marco.
The film may verge on the pretentious but the film is brought back with truly profound moments. We are amused and chuckling one minute to dancing strippers and by the end we are relating to a little girls sadness of not knowing what is going to happen to next.
Sofia knows she’s revisiting familiar territory (a familiar story and even though excellent, a familiar soundtrack), there is possibly nothing new here but it's the story of Somewhere's my life isn't complete story that completes Somewhere, even transforming it into something else completely and like most of her films it can be translated (sorry) in different ways. By the turning point of the film (which is too long) we are finally able to take this Hollywood idol seriously and understand him. Sofia has balanced the film perfectly; smart, funny with boasting amounts of sadness. Melancholically cute I would say. Daddy would be proud.
LOW DOWN
It may be Lost in translation 2.0 but Sofia has created a deliberately Moody, medative film about the nothingness of celebrities and our own with a firm grasp on the unquestionable connection between father and daughter. An assured Mini Triumph
*** 1/2 out of ****
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