Credits

subject and screenplay:

Max Allan Collins and Richard Piers Rayner

direction:

Sam Mendes

produced by:

XX Century Fox e DreamWorks

distributed by:

Cecchi Gori Group

dialogues and dubbing direction:

Fiamma Izzo

dubbing assistant:

Sabina Montanarella

editing society:

PumaisDue

registration studio:

FonoRoma

sound technician:

Franco Mirra

mixage:

Franco Coratella

Voices:

Tom Hanks:

Fabrizio Pucci

Paul Newman:

Renato Izzo

Tyler Hoechlin:

Flavio Aquilone

Jude Law:

Neesem Onorato

Daniel Craig:

Stefano Benassi

Jennifer Jason Leigh:

Claudia Razzi

Dylan Baker:

Luciano Roffi

Stanley Tucci:

Roberto Draghetti

Doug Spinuzza:

Edoardo Nevola

David Darlow:

Carlo Reali

Italian dialogue				2,5
Dubbing direction				2

Road to perdition
USA 2002

This Sam Mendes' film is of solid making and is the umpteenth, great proof of Tom Hanks' professionalism as an actor but above all it shows us a wonderful Paul Newman who regales us with a a portrait of an elderly Irishman which will be difficult to forget.

The dialogue – except for some modernisms and some 'too English' sentence constructions – is sufficiently adherent to the film and manages to create the right cold, sharp, foggy atmosphere in which the film takes place.

Amongst the slip ups: “anfitrione” (amphitryon) and “lunghi soggiorni” (long stays); it's difficult to believe that McGovern, a hardened smuggler uses such educated terms and an out-of-place verb for John Rooney: “puoi” (can) instead of “non potevi proteggerlo per sempre” (you couldn't have protected him forever).

The direction is good and constant, with some lack of attention in the choice of voices: first of all the young star who at times is unconvincing, perhaps Aquilone has a less mature intonation than in the original and Renato Izzo doesn't manage to fill the 'character' of the semi-God Newman – he doesn't manage to give him life and that's a big pity for the film.

Stefano Benassi is however well chosen as Connor's son, that's if you can forgive him for having begun with an “è sempre tutto così fottutamente ridicolo” (it's always all so f***ing ridiculous). Pucci is good and measured in suffocating pain, and all the others are good, in parts, in their respective, if brief, interpretations, including Sullivan's wife.

Lastly, not very nice – to be underlined – the idea of saving money by leaving the priest's recital of Kyrie in Latin, with an English, or rather Irish, accent. Maybe it was mere carelessness but this does not make it any more acceptable.

[original review in Italian by Marnie Bannister]