Subject, screenplay and direction:
Polaris film production & finance, tempete sous un crane…?????
Giuppy Izzo, Barbara Castracane
Emanuela Fantini, Alessia La Monica
Dubbing sound technician:
Anne Marie Sanchez
Jacques Piriou De Peyrac
A nice film, smooth running, even funny in parts.
It tells the story of a couple (Marion, who’s French and Jack, who’s American) who visit her family in Paris for two days after holidaying in Venice.
Jack doesn’t speak French and to put us in his shoes, that is to get us to understand his difficulties, all the dialogues which are incomprehensible to him, are left in French.
Here, therefore, is the principle of this dubbing: English=Italian, French=French which has led to the use of subtitles for much of the film.
Apart from some odd notices/signposts on a too light coloured background rendering them almost illegible, the subtitling was better than the dialogues.
A pity that the audience in the cinema, too intent on enjoying the vulgarity and the double meanings, didn’t realise that the level of the dialogues and the dubbing direction was not really very good.
to Jack who says: “Vado a fare la doccia. Ti amo” (I’m going for a shower. I love you)
what does Marion answer?: “Ok, a più tardi”. (okay, see you later)
Jack: “Potresti essere stupida in francese.” (you could be stupid in French)
Jack means to say “potresti non parlare bene in francese” (you might not speak French very well), or “potresti non esprimerti bene in francese” (you might not express yourself very well in French); from the context it seemed
more probable that the sense was the latter, also because it doesn’t seem to me that Jack’s Italian sentence means anything…
And so to the dubbing direction.
French actors were chosen probably in order to give a true, foreign not faked accent to the actors speaking in Italian in order to put ourselves in Jack’s famous shoes.
I can approve the choice on a basis of principle, as long as the actors are good, or better, well guided.
In this case, perhaps because left to their own destiny, they have done the dubbing in a slightly superficial manner: Pascale Reynaud in particular should have given more character to Marion’s person; often she expressed herself with a dull voice, totally devoid of intonation and of any emotion.
Giorgio Borghetti, initially not worthy of criticism or praise, slowly slowly acquires character, as though he really gets into the role: he should have done it before beginning to record.
My compliments however to Jacques Piriou De Peyrac: a convincing Jeannot in his very essence, to use the director’s words, a sort of perverted Father Christmas.
[original review in Italian by Elisabetta Fumagalli]