The Visual Creative Influence of Sofia Coppola

Paper by Gabriel Isacson. Viewed on DVD.

There are many different things that can add to making someone an auteur. Sofia Coppola has many of these things; her films are all characterized by her strong creative influence. Her most consistent stylistic trait is the use of her aesthetically pleasing attributes. In other words, she can be known as an auteur by the use of her mis en scene. Through these stylistic traits, she is able to tell a story through visuals alone. When looking at Somewhere (2010), Marie Antoinette (2006), and The Virgin Suicides (1999), one can see how Sofia Coppola is able to use visuals to map out her story and how that plays a role in affecting the film’s plot.

In the film Marie Antoinette, one can see that how she visually maps out the story is able to have an affect on the film’s plot. A common theme in Coppola’s films is the use of characters that are having some sort of existential crisis. In other words, it deals with characters who are feeling imprisoned and who are looking for freedom. In Marie Antoinette, this reoccurring theme relates to Marie both physically and emotionally. While the story revolves around the historically well-known Queen of France who was executed, Marie is seen to be trapped by the precise guidelines of the French Royal court. In order to not feel so suffocated by this society, Marie Antoinette lavished herself with things like parties and shopping. All of this is shown through a very visually stunning use of mis en scene. For example, the sets in the film Marie Antoinette are very vivid; these sets create a mood that is very reflective of Marie’s emotions in the film. While Sofia Coppola uses set decorating and costumes to show how Marie is trying to escape her confinement, Coppola also uses these things to show how Marie is merely just a puppet in her royal palace. There are times in the film where the overwhelming use of decorating and color is able to completely washout the Queen. It gives off the impression that she only makes up a very tiny percentage of her surroundings. This physical attribute is able to communicate Marie’s emotional state of mind. While each detail is so vivid and compelling, each detail is just used something to distract the queen from the dissatisfaction she is feeling. However for the audience’s point of view, each detail is also just one more thing that makes her look physically smaller and valueless. With that said, one can see that Marie Antoinette is able to visually portray a story. The use of Coppola’s very intricate mis en scene is able to have an affect on giving a deeper meaning to the film’s plot.

In the film Somewhere, one can see how the film’s plot is emphasized through her visual stylistic traits. One again, there is the common theme of a character that is going through some sort of identity crisis; the main male lead is seen going through exactly this. Johnny Marco, the male lead, is seen as lost; he is searching for some meaning in his life. Relating to Marie Antoinette, Johnny is of high status because of his very successful acting career. Also relating to the Queen in Marie Antoinnette, Johnny is seen trying to fill this emptiness in his life with a very luxurious lifestyle. All of this is shown through a very visual stunning use of mis en scene. Once again, this very vivid technique is able to portray how this lifestyle does not make one happy. Instead, it is scene as a distraction, one more thing to overwhelm the character and take away from his personal worth in life. One example one this would be how Sofia Coppola visually portrays Johnny Marco’s emotional state of mind. For example, in the beginning of the film Johnny is scene is his lush car driving around in circles. He life is revolved around money and fame, and this is what allows him to buy things like fancy cars. Visually, Coppola is able to portray that this is not getting him anywhere in life. This physical example of Johnny driving in circles and not going anywhere is able to communicate Johnny’s emotional state of mind. His way of living does not give him any meaning to life. Therefore, this visual act of driving to nowhere portrays his meaningless lifestyle. Additionally, Sofia Coppola is able to further this theme in the end of the film. Johnny Marco starts to find meaning in his life by bonding with his daughter that gives him reason to live, rather than filling his time with pointless activities. In the end of the film, the audience is able to see Johnny not driving in circles but driving down a straight and narrow path away from where he was living. This visual of seeing Johnny physically drive down a straight path communicates a very strong message about his emotional state of mind; which is that he has now found meaning to his life. He is now driving away from his meaningless lifestyle, and he is seen going somewhere new. In the end, one can see that the use of Sofia Coppola’s mis en scene is able to give deeper meaning to the film’s plot.

In the film The Virgin Suicides, one can see how the film’s plot it is clearly shown through visual tactics. In many films, the use of color is able to symbolize certain aspects. While one can see this reoccurring tactic used by other directors such as Stanley Kubrick, this is one trait of Sofia Coppola that makes her an Auteur. For example, in movies such as Eyes Wide Shut by Stanley Kubrick, one can see how the use of red is able to symbolize things like love and even a threat. Similarly, The Virgin Suicides is able to act as symbols as well. Although, Coppola is able to completely define a character through the use of visual tactics such as color. Just like her other films, Sofia Coppola is able to portray characters in The Virgin Suicides that are dealing with the impression of being trapped. While The Virgin Suicides takes a more literal approach, rather than just referring to one’s emotional state of mind. Very literally, the group of sisters that the film follows is imprisoned in their home. They are sheltered from the outside world, creating a group of girls who are seem as being very virginal and isolated. Through Sofia Coppola’s use of color alone, one can clearly see the type of characters that she wanted to portray in this film. Mainly, Coppola is able to use white as a main visual tool in creating the characters in the film. White is able to represent purity and innocence, and this is exactly what this group of sisters represent. Sofia Coppola adorns the girls with everything white. This gives the audience the interpretation that the sisters are innocent and pure. This relates to the plot of the story being that they isolates from the outside world. They are literally physically imprisoned, and therefore the use of white is able to show how they are emotionally isolated as well. Overall, one can see that Sofia Coppola’s use of mis en scene is able to additionally add the film’s plot.

One can plainly see that Sofia Coppola’s films are very aesthetically beautiful. Yet, besides the captivating beauty in her films, Coppola is able to use these visuals as a tool to tell a story. Through the use of mis en scene, Sofia Coppola is able to visually map out her stories in a way that adds to the reoccurring plots seen in her films. How she is able to portray a story through visuals alone, is what makes her very unique. This strong creative influence is what defines her as an auteur. When looking at Somewhere, Marie Antoinette, and The Virgin Suicides, one can see how her consistent use of visual symbolism is able to give deeper meaning the film’s plot.

Works Cited

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Newman, Michael Z. “Indie Culture: In Pursuit of the Authentic Autonomous
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Viner, Russell. “The Virgin Suicides [Film] by Sofia Coppola.” BMJ: British
Medical Journal, Vol. 320, No. 7249 (Jun. 10, 2000), p. 1611
Marie Antoinette. Dir. Sofia Coppola. 2006.
Somewhere. Dir. Sofia Coppola. 2010.
The Virgin Suicides. Dir. Sofia Coppola. 1999.