Sofia Coppola has a unique ability to capture and portray the subtle yet powerful nuances of human behaviour, expression and body language. It is probably already evident that I am a big Sofia Coppola fan via the Virgin Suicides fansite I created back in 2002. When I heard that production for Lost in Translation had started and it involved not only one of my favourite directors but also Bill Murray and Scarlett Johansson, two actors I both highly rate, I was whet with anticipation for well over a year. Finally, come January 2004, my expectations were greeted with the perfection of another sublimely astute magnum opus. And so, two and a bit years later I am rapt with anticipation for Coppola’s third installment; Marie Antoinette.
Kirsten Dunst is the star of a Coppola movie once more, this time it is a peculiar amalgamation of pop culture and period drama that tells the common Sofia tale of a lost girl and her troubles; though this time it is enshrined with historical fact, which has ultimately led to crucifixion by some critics that utter slurs of historical inaccuracies. I can’t really comment with regards to this, my knowledge of Marie Antoinette, before watching the film, was limited to the singular quote, “Let them eat cake”. I did not watch the film for a historical biopic, I watched for the lofty-comely movie experience I have yet to experience in any another cinematic work but so dearly love like an addiction.
To talk of the precise satisfaction I get when watching The Virgin Suicides, Lost in Translation or Marie Antoinette is difficult and many fail to see how I and others can be so captivated by these stories. Whether it be some strange dreamy essence or hidden connection to my private thoughts — those that whisk me away during my routine daily life — I cannot really tell, and even if I could explain in full retort would you the reader comprehend this connection? The only window to my rapture that I can think to give you is that of Sofia Coppola’s trademark scene; the long drive and the absent minded window gazing. Many see just that — a girl looking out of the window — what I see and ultimately relate to is the simultaneous tranquility of emptiness and fullness; of our random passing thoughts and memory re-enactments as the street lights and the trees accompany us in life’s brief rest bite, in the pause where we think of what might have been, what will be and everything in between.
To wrap up this lovely little post here is a jewel in YouTube’s rough, it is entitled Lick the Star and is Sofia Coppola’s first short movie:
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