Two films

Honey

There’s this girl called Honey and, like, she’s a really good dancer and some video producer spots her and gets her to be a booty girl in one of this videos, but, like, she’s such a good dancer that she starts choreographing stuff, then she won’t put out so the producer is all “bitch” and then the youth centre is condemned so she’s like “I don’t need no fancy choreography job. I’m gonna open my own youth centre” then Missy Elliott is like “I only want Honey to do my video, duh.” and the video producer is like “Honey, come back and do these videos and I’ll give you the money for the youth centre” and she’s like “I don’t need you” and then she has a fund raiser and raises money and the cute little boy dances and his drug selling brother stays off the streets.

But what really upset me about the film is that it teaches young girls that it’s better to go it alone and do things the hard way, rather than to salvage business relationships previously soured by bad sexual relations. Sometimes Missy Elliott will come along and save the day, but other times you just have to take the music video producer’s dirty cash.

Lost In Translation

At the end of the film, Bill Murray whispers something to Scarlet Johansson. We can hear the murmur of his voice, but the ambient noise make the exact words unintelligible. It’s like the climax of Radiohead’s “Just” video. We’re not supposed to know what he says, because it’s a private moment between the two characters. But it drove crazy the people sitting on either side of me. Almost simultaneously two women leant over to their boyfriends and whispered, “what did he say?” and the boyfriends whispered back “I didn’t hear”.

I’ve heard “Lost In Translation” described as a romantic comedy, but it’s not really a comedy. It’s more a romance, and a somewhat unconventional one. Scarlet plays a young woman who’s in Japan with her photographer husband. I like how her husband is around, and he’s sweet and kind, and he talks about interesting stuff, and when he’s away he sends her a fax saying he misses her, but yet it’s the sort of textbook modern romantic stuff that doesn’t mean anything when he’s also being drawn in by the spunky blonde actress who’s also in town.

There’s been criticism about the way that Japanese are portrayed in the film. There are no major Japanese characters in the film, and most come across like funny like people who are very polite or do really wacky zany things. But to me it seemed liked like the way Japan and the Japanese might come across if you were to only spend a week there. It’s all the differences that stick out, the stuff that reminds you that you’re not home anymore. It’s a slightly surreal tint, but sometimes that’s the best way to show emotions in film.

And then there’s the romance between Scarlet and Bill’s characters. Her husband’s out of town, his wife is in another country and the most tender, loving, romantic and sexy moment in the whole film is when a hand touches a foot.

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