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  3. Sofia Coppola’ s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who

Sofia Coppola’ s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who

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问题     Sofia Coppola’ s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic through melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
    Bob Harris(Murray)is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
    Charlotte(Johansson), the neglected wife of a photographer, experiences a similar air-conditioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband’ s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
    These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
    Coppola sees in Tokyo’ s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte’ s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
    Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and num-bingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and" Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.
It can be learned that "Tokyo dream-pop"______.
选项 A、was adapted to the music of the film
B、was composed by Brian Reitzell
C、must be a theme song sung in the movie
D、must be about Tokyo’ s Westernization
答案A
解析 根据文中最后一段的内容“The score produced by Brian Reitzell created out of Japa—nese musical themes and‘Tokyo dream—pop’adds to the sense of an Eastern city that has suc—cumbed in large measure to Western culture．”可知The score是在日本音乐主题和Tokyodream-pop的基础上创立的音乐，为适应电影的需要，进行了改动。所以A符合题意。B项“是Brian Reitzell创作的”，Brian Reitzell创作的是The score，而不是“Tokyo dream—pop”。C项“一定是电影的主题曲”，D项“一定是关于东京的西方化”，C、D两项在文中没有提到。
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