Credits

SUBJECT:

Philip K. Dick

SCREENPLAY:

Scott Frank, Jon Cohen

DIRECTION:

Steven Spielberg

PRODUCED BY:

CRUISE/WAGNER PRODUCTIONS, BLUE TULIP PRODUCTIONS, DREAMWORKS SKG, RONALD SHUSETT/GARY GOLDMAN

DISTRIBUTED BY:

20TH CENTURY FOX

ITALIAN EDITION:

SEFIT-CDC

ITALIAN DIALOGUES:

MARCO METE

DUBBING DIRECTION:

MARCO METE

DUBBING SOUND TECNICIAN:

SANDRO GALLUZZO

Voices:

Tom Cruise:

ROBERTO CHEVALIER

Colin Farrell:

FABIO BOCCANERA

Max von Sydow:

GIANNI MUSY

Lois Smith:

RITA SAVAGNONE

Samantha Morton:

ILARIA STAGNI

Jason Antoon:

ROBERTO PEDICINI

Kathryn Morris:

PINELLA DRAGANI

Peter Stormare:

DARIO PENNE

Daniel London:

ORESTE BALDINI

Tim Blake Nelson:

PINO AMMENDOLA

Neal McDonough:

DANILO DE GIROLAMO

Steve Harris:

CLAUDIO FATTORETTO

Arye Gross:

MINO CAPRIO

Ashley Crow:

ANNA RITA PASANISI

Mike Binder:

GIANLUCA TUSCO

Patrick Kilpatrick:

NINO PRESTER

Italian dialogue				4
Dubbing direction				5

Minority Report
USA 2002

Minority Report is one of those films that is able to catapult the audience in another dimension through impressive scenarios and breathtaking scenes. The film is set in Washington D.C. in 2054. The police have been able to erase all homicides thanks to a system named “precrime”, that allows to arrest murderers before they actually commit murder. These precautionary arrests are carried out by using the extrasensory abilities of three “precognitive” people, able to know the time and place in which a murder will be committed even many hours before. The fact that the film director Steven Spielberg chose to narrate the adventure of the policeman who is the main character (Tom Cruise) with scenes of a high visual impact, certainly makes the job easier when adapting the dialogues for the Italian market. The dialogues, in fact, are often pushed into the background compared to the action and the only real difficulty is the use of space age words that are entirely invented. Spielberg worked with a team of experts on studies on the future to create the scenarios and imagine the technologies of a possible 2054. So we hear the weirdest names to describe instruments and gadgets, the translation of which was not so simple. In some cases they were not translated at all, for instance the word “pre-cog”, that sounds definitely better than the Italian “precognitives”, both because an Anglicism is perfectly acceptable and because the English word is shorter and suits lip-synch better. In other cases, creativity came first: the “sick-sticks”, truncheons used by policeman to keep criminals still and literally make them sick are translated as “sfolla-rigetto”. A debatable choice is the literal translation of “to get haloed” with “essere aureolato”, which means to be immobilized by police through a sort of earphone that puts criminals into a vegetative condition. If the word “to halo”, also used in video games, although a bit obsolete, rather suits the setting of the film, the verb “aureolare” is not so adequate.

Nevertheless, we can say that in general a very good job was done on the Italian dialogues, because the fast rhythm of the original was maintained and they are just as believable and structured. Some American culture-specific references were of course omitted because an Italian audience would not have understood them. Examples are the famous American electrical appliances company “RadioShack” and the Californian seminary “Fuller”. The only fault in the Italian version is the presence of words that are too English, due to the fact that the dialogue writer wanted to stick to the original script or simply due to reasons involved in the dubbing. A clear example is in the scene where Tom Cruise is about to be arrested by a colleague, who, to convince him not to run away says: «it shouldn’t have to be like this» literally translated «non dev’essere così». Considering the fact that the face of the actor who speaks these lines is not on screen, it could have been possible to find a more plausible and less literal solution (for instance. «vedrai che tutto si sistema», everything will be alright).

As regards the voices and the dubbing of this film, carried out by professionals like Marco Mete (dubbing director), Roberto Chevalier, Fabio Boccanera, Gianni Musy and Roberto Pedicini, my opinion is positive. The acting, even of secondary actors is perfect because it reflects the characters. For instance, the voice of the prison warder, that has ups and downs and is quite schizophrenic, (and only appears in two scenes) is acted very well also in the Italian version. Special merit goes to Ilaria Stagni who gives Agatha, the pre-cog character, a subdued, insecure and sometimes even unreal voice that also characterizes her in the original. Not to mention the scream (“Scappa”) that lasts more than ten seconds that Agatha cries out as the police arrive. A really perfect performance.

[original review in Italian by Nunzio Scalcione]