Coppola Mechanism: Francis and Sofia’s Different Portrayals of Loneliness
In between The Godfather and The Godfather Part II, Francis Ford Coppola directed another classic: 1974’s The Conversation. Gene Hackman plays Harry Caul, a San Francisco surveillance expert who delves relentlessly into other people’s lives. Yet after one assignment, which has him initially (just) eavesdropping on a wealthy man’s wife and her male companion, he eventually finds himself trying to save what’s left of his own life. The viewer, funnily enough in an inherently voyeuristic role, sees that it’s not much of a life to begin with (barren loft void of color or personality; awkward attempts at human relations, specifically ones with women). Yet Harry seemingly resounds himself to reclusiveness, a sort of Catholic-induced self-punishment for the guilt that goes along with doing what he knows is wrong.
Coppola’s still-relevant script touches upon themes of technological obsession, voyeurism and paranoia, and its last scene is solemn and unsettling. Slow-jazz saxophone plays over the scene, a disturbingly serene choice to show someone peacefully succumbing to the (literal) mess one has made of his life. While Harry keeps human interaction and emotional involvement at a literal faraway distance, there’s a character in another Coppola creation who wants to intentionally connect with others, but first, with herself.
Partly based on Sofia Coppola’s time in Tokyo during her early twenties, 2003’s Lost in Translation is one of the best at capturing loneliness. The scene when Charlotte (Scarlett Johansson) calls a friend on the phone—a symbol of communication and connection—illustrates yet another way Charlotte feels dismissed and disconnected, not just a stranger in a new city, but worse, in her own life. As she sits alone in her hotel room, high atop and removed from the hustle and bustle of the city below, tearful gasps represent, in more ways than one, a longing to find home. The film’s soundtrack of dreamy, melancholic melodies and fuzzy feedback create a sense of… wander, and at times convey a hopeful reawakening for Charlotte, and actor in mid midlife crises, Bob (Bill Murray), both looking to feel refreshed after spending their lives in a (jet lag) haze.
Although both films are almost 30 years apart, Francis and Sofia show characters who are achingly lonely, yet the main difference is that one feels he deserves to be, the others are desperately trying not to be.
The Conversation: Paramount Pictures; Lost In Translation: Focus Features.
Stitch Mix: Music, Mood and the Chanel Fashion Show
Like a belt or purse matching the shoes, fashion and music can be coordinated perfectly. Whether it was during Karl Lagerfeld’s iconic run as creative director, or now with Virgine Viard at the lead, the Chanel fashion house knows all about, all of the above.
In December 2019, Chanel posted its Métiers d’art (art professions) show, a yearly event highlighting the artistry of the many ateliers with whom the house works. (Think, in part, meticulous beadwork applied by master embroiderers.) Held at the Grand Palais in Paris, this year’s show—the first for Viard since Lagerfeld’s passing—was entitled “31 Rue Cambon,” the address of Chanel’s Paris store. The set was co-designed by the film director, Sofia Coppola and was inspired by Coco Chanel’s apartment, with its curved staircase surrounded by angled mirrors; large chandeliers descend from the rafters to illuminate the already brilliant homage.
Stylin’; Profilin’
“Dress shabbily and they remember the dress; dress impeccably and they remember the woman.”
— Gabrielle “Coco” Chanel (1883 - 1971)
As the old adage goes: Perfection is in the details, and this rings true regarding Viard’s use of a ‘70s/‘80s-inspired soundtrack. When the model, Vittoria Ceritti opens the show, she glides elegantly down the staircase to Roxy Music’s “To Turn You On” from Avalon, with Bryan Ferry’s ethereal vocals further setting the tranquil tone.
Other songs include:
Sam Taylor Wood produced by the Pet Shop Boys on “I’m In Love with a German Film Star”;
Soft Cell’s jazzy, peppy, yet ironically moody, “Torch”;
The French singer, Amanda Lear’s Euro-Disco, “Follow Me.”
If you need to edit your time, watch the Roxy Music section, then skip to 10:30, featuring LCD Soundsystem’s “Oh Baby,” with its dark, yet dreamy, synth-pop sound. Thanks to the music choices and the models (including Kaia Gerber near the end) walking and weaving around each other in perfect harmony, these two sections are meditative, hypnotic, couture with a calming effect, certainly something to embrace in these times. Note that Ceritti closes the show as well, creating a satisfying sense of completion.
Watch as fashion and music fit beautifully like hand to glove: