Somewhere is a film about something, although what that is isn't entirely clear. The dehumanizing effect of wealth and celebrity? The transformative nature of parenthood? The restorative power of a child? The perils of emotional isolation? Or is it simply a slice-of-all-too-mundane-life tale that stumbles more often than it succeeds? The building blocks of a poignant, potentially moving film are in place, but Lost in Translation wunderkind Sofia Coppola fails to assemble anything of substance, stumbling into a somewhat redemptive third act after laying an hour of tedious, oft-times irritating groundwork. As usual though, there's no accounting for taste. Somewhere earned top honors at the 67th Venice International Film Festival, walking away with a coveted Golden Lion. Noted filmmakers have praised its idling insight and meditative melancholy, and many a critic has gushed over Coppola's prowess as an evolving independent filmmaker. Some, like the New York Times' A.O. Scott, even went so far as to declare her fourth directorial outing "perfect" and "one of the year's best pictures" (impassioned praise that continues to confound me). But Somewhere isn't either of those things. It's merely a divisive arthouse disappointment from an increasingly divisive arthouse director.
It's easy to mistake Somewhere as a film about dull, shallow people leading dull, shallow lives. After all, Johnny Marco (Stephen Dorff), the spoiled prince of privilege at the center of Coppola's meandering drama is... well, a dull, shallow Hollywood star leading a dull, shallow Hollywood life. But Johnny is a creature of excess and underlying despair, racked with numerous hangups and insecurities. His career may be on the fast track, but his spirit is languishing. Enter Johnny's eleven-year-old daughter, Cleo (Elle Fanning in a softly affecting, albeit slightly forced performance that, even at its most transparent, is a testament to the youngest Fanning's innate talent.) With unassuming innocence, Cleo begins to inadvertently reignite whatever flame had been snuffed out in her father years ago, giving him the opportunity to assess and evaluate his celebrity, priorities and his role as a father. To her credit, Coppola avoids melodrama at all costs and glides past countless heartstrings without plucking a single one. Somewhere isn't devoid of emotion and resonance, not entirely, but Coppola is cautious in her treatment of both, clinging to the reality of Johnny and Cleo's relationship without indulging in syrupy tenderness or heartfelt epiphanies.
The story itself though is woefully minimalistic, and even a basic three-sentence synopsis could splay open the entire film from groin to gullet. Coppola's cameras bide their time as Johnny drives in circles. A pair of awkward, pole-dancing twins try to get a rise out of him to little avail... on two separate occasions. He sits and smokes and drinks; drives through Los Angeles; sits and smokes and drinks some more; drives through Los Angeles at night; attends a press junket and struggles with the most basic questions; and sits patiently as special effects technicians make a mold of his head. He watches Cleo as she skates... and skates, and skates, and skates. The budding father-daughter duo play Guitar Hero, banter with Johnny's one-man entourage, Sammy (a refreshingly restrained Chris Pontius), travel to Italy for a publicity tour, and share a series of effuse moments that inexplicably bring them closer together. Each meandering vignette is meant to provide a glimpse into the monotony of Johnny's life, the emptiness of his existence, and the unspoken bond that develops between Johnny and Cleo. But his life remains stagnant, and he offers little to those around him, Cleo included. His emptiness remains constant, even when sharing a legitimate connection with his daughter. Worse, their relationship is one of proximity, nothing more. With no history revealed, with no conflict to be quelled, with no disdain to be exorcised, Cleo is presented as a blithe, carefree waif for much of the film. Even when tears finally, finally overtake her, they appear as if from nowhere; not because Fanning has failed in any way, but because Coppola has given her audience so little to invest in or anchor themselves to.
Somewhere eventually begins to come together around the fifty-minute mark, and the last half-hour of the film hints at what could have been a worthy successor to Lost in Translation. Instead, Coppola relies too heavily on the honesty of Dorff and Fanning's excellent performances, Harris Savides' delicate cinematography, sparse music, airy atmosphere, and a touching sendoff that's far too reminiscent of Bill Murray and Scarlett Johansson's iconic farewell. At its heart, Somewhere is an ineffective film brimming with all-too-effective exchanges and imagery. But Coppola doesn't attempt to make it anything more, a point of contention that will delight some and alienate others. Lost in Translation is a slow film, but it never drags. Its characters are elusive, but far from inaccessible. Its love story is simple, but stirring, haunting and ultimately unforgettable. Its performances are reserved, but are given ample room to grow and flourish beautifully. Suffice it to say, Somewhere doesn't hold a candle to Coppola's best. And while some will suggest it's unfair to compare the two, the striking thematic similarities between the films beg that very comparison. Somewhere has something to say; something very personal, perhaps even profound. It just doesn't say it with the clarity, power, assuredness, eloquence or intimacy of Lost in Translation.
Universal's lovely 1080p/VC-1 transfer isn't going to convert anyone to the high definition fold, but cinephiles will appreciate how closely it clings to Coppola's artistic and aesthetic intentions. While black levels are muted, contrast is inconsistent, skintones sometimes appear unnaturally warm, and the image grows noisier each time the lights go down, every quote-unquote shortcoming traces back to Harris Savides' photography and the underlying tone of the film, nothing more. Colors, though sobering, are nicely saturated and faithfully represented. Detail, though a tad erratic, is teeming with indie charm and revealing nuances; fine textures are convincingly lifelike, edges are clean and confirming, and the film's grainfield is both intact and tasteful. More importantly, the studio's technical encode is a proficient one. Significant artifacting, banding, aliasing, smearing and other unwelcome party-goers are booted to the curb, and Savides' photography is given every opportunity to stand on its own merits. All things considered, Somewhere's Blu-ray presentation will easily please fans of the film and give critics at least one thing to enjoy.
Somewhere relies on atmosphere above all else, and Universal's DTS-HD Master Audio 5.1 surround track doesn't deviate from Coppola's marching orders. The results are decidedly flat and front-heavy, with only the slightest ambient and acoustic effects surviving the dangerous trek to the rear speakers. Restaurants, hotel lobbies and apartments have a realistic air about them, albeit unfiltered realism as captured by microphones. Air hiss, environmental noise and other distractions aren't uncommon, and voices aren't as crisp, clear or prioritized as they could be. LFE output is kept to a bare minimum as well, and dynamics, directionality and immersiveness all come up short. That being said, Somewhere presumably sounds as Coppola intended it to, making an evaluation of the studio's lossless mix more difficult than it might seem. As it stands, those who appreciate the film and its director's style will be quite satisfied. Everyone else will shrug their shoulders and overlook the qualities Somewhere's sonics possess.
The only special feature available is "Making Somewhere" (HD, 17 minutes), an obtuse bit of back-patting that skims across the production without drawing anything meaningful to the surface. As EPKs go, it's a strangely pretentious one; something Somewhere's detractors will find to be most fitting.
I don't usually yawn while watching a movie. Even the slowest films, if executed properly, have wormed their way into my brain and held my unwavering attention. But Somewhere spends too much time lingering, waiting, resting, waltzing and shuffling, often to little or no effect. Coppola is more interested in her tone than the tale, and far more concerned with making an unmistakably independent film than in making a good one. Lost in Translation remains one of my favorite films of all time, but after sitting through Marie Antoinette and now Somewhere, I'm beginning to wonder if Coppola will eventually join Richard Kelly and M. Night Shyamalan on my ever-growing list of one-hit-wonder directors. (Her saving grace at this point? The Virgin Suicides, a lesser freshman effort that has nevertheless kept her afloat in my mind.) Still, fans of her fourth film will be reasonably pleased with Universal's Blu-ray release. While it lacks supplemental weight, its AV presentation is quite faithful to Coppola's intentions. Ultimately, I'd suggest sticking with a rental. Anything else just might end in heartbreak.
Universal Studios Home Entertainment has announced Somewhere for Blu-ray release on April 19. This independent drama, directed by Sofia Coppola and starring Stephen Dorff and Elle Fanning, won the Golden Lion at the 2010 Venice Film Festival. It grossed $1.7 million ...
