Sofia Coppola’s richly crafted and emotionally poignant films have been severely undervalued by contemporary critics. Perhaps this is down to her “unapologetically hyperfeminine aesthetic”, or the fact that she draws so heavily on pop culture in a body of work grounded on the recurring theme of female alienation. Whatever the reason, Coppola’s films stand as a still all too rare feminine perspective within contemporary Hollywood cinema, and so it’s refreshing that Little White Lies’ Digital Editor Hannah Strong is now giving her complete filmography the critical attention it deserves in Sofia Coppola: Forever Young.
Often focussing on female protagonists struggling to find happiness in a masculine world, Coppola’s films have particular resonance for young women facing their own battles. It’s as part of this demographic that Strong situates her criticism, remarking “it’s strange to owe so much of your development as a person to someone you have never met” in a heartfelt introduction that reads like an open letter of appreciation (with Strong referring to Coppola by her first name). “The defining characteristic of Sofia’s filmography is honesty” Strong notes, and it’s with that same honesty that she responds to Coppola’s films. Her approach is refreshing when compared to other auteur studies, which are too often dominated by the critic’s desire to stamp their authority on the text. Instead, Strong’s analysis comes from a place of humble admiration and respect, but without shying away from problematic aspects of Coppola’s work.
Accusations of Hollywood nepotism are addressed promptly, with Strong noting that whilst Coppola has been afforded a great deal of privilege by her father’s status (Francis Ford Coppola, legendary director of The Godfather and Apocalypse Now), the success she’s achieved is much deserved and wholly her own. Both The Beguiled and Lost in Translation have faced criticism over their handling of race and in addressing these instances Strong is wise to defer to the dissenting critics of the time. In keeping with LWL’s previous collaboration with the publisher Abram’s, Paul Thomas Anderson: Masterworks by Adam Nayman, Strong again opts to cover the films outside of chronological order, pairing unlikely films together under thematic chapter headings. This structuring is welcome as it draws out recurring themes whilst also giving a sense of progression to Coppola’s style.
A particular highlight includes Strong’s analysis of The Virgin Suicides which is grounded in her initial, and life-changing, first encounter with the film—and which also gives space to consider that the film is as much about identifying with the boys as they see the girls, as it is about the Lisbon girls themselves. Her pairing of Marie Antoinette with The Bling Ring—both of which were much maligned upon release—draws out interesting comparisons between the two, convincing readers that “they form a fascinating double feature about the Western cult of celebrity and young women vilified in the name of salacious gossip.” The book builds to a discussion of Love and Loneliness in Coppola’s magnum opus Lost in Translation (responsible for her sole Academy Award win). Apt comparisons are drawn between Blade Runner and Her, both of which use a Tokyo-esque future to render modern life as being particularly alienating, and as a high point in Coppola’s career the film feels like a natural end to this fine celebration of her work.
Sofia Coppola: Forever Young is out now in UK Bookstores and can be ordered here.
Words by Jake Abatan
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