Serendipity Point Films
c.d. cine doppiaggi
dubbing sound technician:
sound mixer technician:
Michael J. Reynolds:
Luciano De Ambrosis
Maria Pia Di Meo
Karen O’Connor, a young career journalist (and polio survivor as a child), discovers the tragic truth behind the artistic divorce of the variety couple Lanny Morris-Vince Collins, which took place fifteen years earlier after the death of Maureen, University student, aspiring journalist as well as seasonal waitress. Together with the truth of the facts, Karen discovers the human truth of those whom she idolised as a child, as well as sides to her personality she never knew existed.
The story is articulated through the weaving of different memories of the event which correspond to different time zones: the flash back story of Lanny’s truth through his memorial, Vince’s present truth which comes through from the interview which he leaves Karen, Karen’s deductions on the death of Maureen.
It could be a good plot, but if you get over the initial suggestiveness of L.A. Confidential atmosphere, the film is inferior to what we expect and concludes with the bitter truth that the murderer is always the butler.
If the film is disappointing, the dubbing is likewise, carelessly done both on the screenwriting side and on the interpretative side. On the screenwriting side, one notes small imperfections which show a lack of attention and a rush in solving linguistic problems. Here are a few examples
As far as the lack of attention is concerned, Karen, who begins to suspect Lanny, says: “Era impossibile pensare che potesse essere un killer”, (it was impossible to think he could be a killer) with an unlikely use of the term “killer” for someone who has killed only one person, instead of a more opportune “assassino” (murderer) (why, then, use the precious technical expression “polistirene” instead of the more common synonym “polistirolo”?).
For the series of ‘non-solutions’, the dialogist, who shows his capability in his appropriate rendering of pieces of the duo’s show, fails exactly on the game with words: Karen, whilst interviewing Vince, casually meets Lanny and to avoid professional complications she pretends to be a friend with whom she’s swapped homes; when she accepts Lanny’s offer to take her home (incidentally, called here, as always, “appartamento” (flat/apartment); I mention it but it’s a lost battle), in the lift he asks her which floor and she, not really living there, taking her time answers (perhaps remembering the postal address): “Four-D”. In English the assonance with “fourteen” is clear, so that he answers: “Quattordici? Arriva solo al sesto” (fourteen? It only goes as far as the 6th floor). In Italian leaving an assonance which is non-existent between “quattro-D” and “quattordici” makes the game of words not immediate and, what’s worse, inevitably induces the spectator to a mental parallel with the English form, an inopportune thought whilst you’re watching a film.
In the same way, the translation of Vince’s habit of always having a woman “a portata di mano... Bè, non proprio sulla mano” (at hand (within reach), well, not ON my hand) is unpleasant. This affirmation, repeated more times in that it’s written in Lanny’s memorial and repeated by Vince as though he’d said it, is the key that makes Karen understand that the story of what happened that night is a false truth. Moreover it’s a written line, like all those that Lanny created in the duo’s golden times, so it attracts our attention for both reasons. However it’s not precisely exact with respect to the real dynamics (Lanny tells us he prefers the missionary position so that he can look women in the eyes whilst Vince, al least with women, prefers to be under, an “bè, non proprio di mano” (well, not actually ON/IN hand) would have been just as clear and more plausible from a professional in quips and jests.
The main problem of the Italian dialogues of the film is another: the alternating time clauses should have asked for a foreseen choice and a subsequent rigor in the use of verbal tenses. What confuses and disorientates in following the diverse times of the event is however the always uncertain consecutio, which in Lanny’s story alternates to the past present not the remote past tense but an inexact present perfect. Said like that, it seems pedantic, but I assure you to hear a fifteen year old story, more so in written form, in the imperfect plus present perfect form, whilst in the present yesterday is referred to in the remote tense, is very bothersome.
As far as the dubbing direction is concerned and the interpretation, Marco Mete, in this “one man show” (he’s adaptor, director and dubber of Kevin Bacon) appears to have really exaggerated: perhaps his best performance is as a dubber: as far as Massimo Lodolo is concerned he’s in a better chosen role than usual (we learn with pleasure of his presence in the film only by the list of appearances at the end), the choice and direction of Connie Bismuto as Karen are totally debateable: Karen hides an Irish woman’s temperament, stubborn and intelligent behind a round chubby face and a meek aspect; the sweetness is fine, but it wasn’t necessary to force Bismuto (unless it’s her personal structural inadequacy) to a monotonous recital, which doesn’t transmit any anxiety and is uselessly dull throughout the film, with the result that we ask ourselves, right until the very end, how can such a seemingly young girl who seems inadequate even to be a journalist, become a clever investigator.
[original review in Italian by Giovanni Rampazzo]