subject and screenplay:
Max Allan Collins and Richard Piers Rayner
XX Century Fox e DreamWorks
Cecchi Gori Group
dialogues and dubbing direction:
Jennifer Jason Leigh:
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]