Richard Curtis, Andrew Davis
Working Title, Universal Pictures, Studiocanal, Miramax Films
Simona Izzo, Fiamma Izzo
Federica De Bortoli
The latest hilarious chapter for the no-longer-single Bridget Jones. If previously we were obsessed with her desperate search for love, now we can’t but laugh at her blunders during her relationship with Mark Darcy.
The two are now a couple and if at the beginning nothing could be better between them, some misunderstandings and Bridget’s impulsiveness mess up the relationship. Bridget therefore dedicates herself, more or less professionally, to her journalistic career and accepts an assignment which takes her to Thailand with her ex, Daniel Cleaver. Here it seems their passion may reignite but the journey hasn’t finished dishing up surprises. Bridget ends up in prison for drug possession. This is where the film shows it’s most intense and dramatic side, facing social themes like poverty and violence on women without ever forgetting Bridget’s ironic streak. How can we truly forget her teaching the words to “Like a Virgin” to her fellow cellmates?
Just like in the previous film, “Bridget Jones Diary”, also this time the screenwriters have adapted Helen Fielding’s story, an enjoyable insight into the lives of 30year old something Londoners coming to grips with love, careers, and alcohol fuelled evenings in the trendiest clubs of the capital. The film has maintained the original spirit: bubbly, light-hearted but never ridiculous. Some scenes merit a special mention for the laughter they offer the spectator: the already mentioned music lesson in the Thai female prison, Mark and Darcy’s fountain fight and Bridget’s clumsy chemist entrance to ask for a pregnancy test (a scene which we will analyse further on for dialogue adaptation) are an example.
The soundtrack is excellent with music excerpts of contemporary artists like Robbie Williams, Kylie Minogue, Mary J. Blige, Beyoncé, The Darkness and Amy Winehouse, but also huge song classics of Aretha Franklin, Barry White and Marvin Gaye calibre.
The Italian edition has maintained the original spirit of the story and most of the lines are just as funny as in the original version. Fiamma Izzo’s dubbing direction is excellent even in the detail like the posters and the subtitles, which are never missing when necessary. The voice distribution is impeccable: Giuppy Izzo’s choice for Bridget gives the right tone of freshness and femininity to the character and the choice of Stefano Benassi for Mark is also a good one thanks to his warm and reassuring voice. A particular mention for Luca Ward, who with his enveloping voice and excellent reciting gives the correct interpretation of a Hugh Grant (Daniel) as a rascal, contrary to the common awkward lover role in which we’re used to seeing him, and for Lorenza Biella who’s acute tone and type of scatter-brained recital gives the voice to Bridget’s mother.
The only transgression in the dubbing direction: when Bridget is called in by her boss for the news item in which she did a parachute jump and ended up in a pigsty, we see the cameraman obsessively fast forwarding and then rewinding the sequence and you hear «This is Bridget Jones, reporting from a big vat of excrement». In the Italian version, the sentence has been omitted.
The dialogue layout is also good. Simona and Fiamma Izzo have managed to maintain the sense and above all the hilarity of the original lines.
Some examples: when Bridget jumps with the parachute and ends up in the pigsty, her news editor calls her on the radio and says to her «Earth to Bridget Sodding Jones» to get her attention, seeing that, as always, she’s lost in thought. The line has been correctly adapted with «Terra chiama Bridget Cacca Jones».
A few scenes further on, Bridget enthuses over the wonders of her relationship with Mark whilst she watches him sleeping and thinks «Bridget Jones isn’t a love pariah anymore», and the line has been pleasantly translated into «Bridget Jones non è più una sfigata dell’amore» (Bridget Jones is no longer unlucky in love).
The scene in which Bridget, not knowing how to ski, starts to slide down a slope without managing to stop herself until she ends up entering a chemist realising at the same time that she could be pregnant is fantastic. In the original version Bridget Jones says: «Ich bin er possibly mit baby… Kinder! I’m on back and he maken ze lieben with me». The Italian adaptation is: «Ich bin può darsi mit bebé… Kinder! Io letto mentre lui fare trombatinen con me» - totally enjoyable.
Only a few errors in the dialogues. When Bridget and Mark quarrel, she says «It feels like you’re waiting for someone in the VIP room who’s so fantastic just the way she is that you don’t need to fix her». The line has been adapted with: «La verità è che tu speri di incontrare una donna così meravigliosa, così fantastica e giusta per te da piacerti così com’è» (the truth is that you hope to meet a woman who’s so fantastic and so right for you that she’s perfect just as she is). In fact, by saying that, the reference to the VIP room which had been mentioned in a previous scene during the party of the Bar Association is lost, in which a colleague of Mark had said to Bridget that they were two ordinary people who had entered the VIP room by chance where other wonderful people like Mark and Rebecca, his colleague, were present through right and that it was only a question of time that someone would discover the mistake and would ask them to leave. We gather from the original line that this comment affects Bridget a lot, and has increased her feeling ill at ease with regards to Darcy because she embarrasses him, isn’t tall or slim enough and he always has to correct her mistakes. Like this, the significance is lost.
The other mistake is when Bridget comes back from Thailand and talking with her mother about her love-life there’s the following exchange of lines: I will not fuck it up again, mum / Bridget! Language! / Sorry, I will not fuck it up again, mother. The adaptation is: La prossima volta non manderò tutto a puttane, mamma / Che linguaggio, tesoro! / Scusa, la prossima volta non manderò tutto a puttane, mammina. In reality, the difference between “mum” and “mother”, is that the first is more tender and confidential, the other is colder and more respectful, whilst between “mamma” and “mammina” the difference is exactly the opposite: “mammina” is much sweeter and more affectionate than “mamma”.
In substance the film is very pleasant and the Italian edition has not undermined the fluency, fun and pleasure in viewing this film.
[original review in Italian by Alessandra Basile]