Amy Sherman-Palladino, Joanne Waters, Jed Seidel, Daniel Palladino, Jenji Kohan, Joan Binder Weiss, John Stephens, Elaine Arata, Linda Loiselle Guzik
Lesli Linka Glatter, Arlene Sanford, Adam Nimoy, Alan Myerson, Micheal Katleman, Sarah Pia Anderson, Rodman Flender, Bethany Rooney, David Petrarca, Lev. L. Spiro, Bruce Seth Green, Nick Marck, Perry Lang
Mel Efros, Dorothy Parker Drank Here Productions, Hofflund Polone, Warner Bros Television
Warner Bros Television
Mauro Pelliccioni, Maria Cicconcelli, Carlo Dall’Ongaro, Antonella Damigelli, Claudia Pittelli, Fausta Fascetti, Alessandro Spadorcia, Simona Esposito, Isabella Abbenante, Chiara Bertoli, Luciano Roffi, Silvia Gavarotti, Massimiliano Valerii, Roberta Fregonese, Simonetta Allodi
Barbara Castracane, Giuppy Izzo
Coop. Eddy Cortese
Transmitted in Italian by:
Canale 5, Italia 1, Italia Teen TelevisionFox Life
Sookie St. James:
This time we’re not in front of one of those big glossy American metropolis: “Gilmore Girls” shows us life in the outskirts, in the little suburbs, even if invented like Stars Hollow. Here, the events of Lorelai Gilmore and her daughter Rory take place. Pregnant at sixteen, Lorelai did not get married to Christopher, Rory’s father, deciding to bring her daughter up alone, far away from Emily and Richard her oppressive parents. Sixteen years later, Lorelai is an adult, she runs a hotel and Rory is an amazingly intelligent young girl, so much so that she’s admitted to Chilton, the exclusive private school. Chilton though is very expensive which is why Lorelai is forced to ask her parents for a financial loan who in exchange ask to be part of their lives once more. But this series is also animated by the special friendship between Lorelai and Luke, Rory’s first love, Christopher’s return and an important love for Lorelai.
After years of TV series with alcoholic parents and precocious offspring, at last a genuine sparkly series which conveys positive values without reaching the excessive and sometimes sugar-sweet goodness of “Seventh Heaven”. The series has a fast rhythm, the lines are always witty, never vulgar and it re-evaluates life in the suburbs. Useless to say how spot on the relationship between Lorelai and Rory is, even though perhaps slightly utopical.
The Italian edition is good. The dubbing direction is better than the dialogue script, which however is satisfactory. The voice distribution is correct and the choice of the dubbers seems adapt to the roles. The voice of Giuppy Izzo maintains the maturity and the friendliness of Lauren Graham, the voice of Myriam Catania is even better than that of Alexis Bledel who sometimes comes over as being too cold. A particular mention of Luigi Ferraro, snob and with a French accent who interprets the French Michel Gerald, an employee in Lorelai’s hotel; and for Claudia Pittelli who, aggressive and not very feminine, interprets the authoritative Paris. The dubbing is accurate, some areas haven’t been ignored which sometimes happens in TV serials, the recital of all the dubbers is rather good and above all it respects the fast rhythm of the series’ dialogues.
The dialogues are written quite well, above all merit is due to the dialogists for having effectively adapted certain typically American circumstances unknown in Italy. Hereafter, some examples: already in the first episode Rory, talking about her mother’s make-up bag, comments «RuPaul doesn’t need this much makeup». RuPaul is a singer and an American transsexual actor, practically unheard of over here, who performs with a very ostentatious look so the adaptation «Dio, nemmeno Boy George si mette tanta roba» (not even Boy Gorge puts on so much stuff) is decidedly apt because it renders the idea of the line. In the same episode Sookie asks Lorelai where’s the paté, getting as an answer «At Zsa Zsa Gabor’s house». Zsa Zsa Gabor is an actress of Hungarian origin of the beginning of the century, more famous for her love life than for her career as an actress so much so she’s not well known in Italy especially to the young spectators of the series. For this reason the line was substituted by a creative «Ci ho incollato la tappezzeria» (I glued the carpet down with it), which maintains the tone.
Same reasoning for the choice, elsewhere, to substitute the reference to Henny Youngman, a famous comedian in the United States for his puns, but less known over here, with the famous Woody Allen.
Difficult to understand, on the contrary, why the line «And Justin is just so dreamy he can’t marry Britney» was changed in «Tom Cruise è troppo bello, non può sposare quella Penelope» (Tom Cruise is too gorgeous, he can’t marry that Penelope). Britney Spears and Justin Timberlake are very well known over here, there wasn’t any reason at all to use the couple Cruise/Cruz.
In the fourth episode, furthermore, Lorelai accuses Rory with a «Honey, you once told me that you loved “Saved by the bell”». The line in Italian has become «Oh tesoro, una volta ti scappò che ti piaceva Julio Iglesias», (Honey you told me once that you loved Julio) but the series “Saved by the bell” was transmitted also in Italy with the title “Bayside School”, so the original line could have been maintained, with the translation of the title, avoiding an improbable reference to a singer surely relatively unknown in the United States.
A good adaptation is however when Sookie and Lorelai tease Rory when she decides to take some chocolate biscuits to her new boyfriend Dean. Sookie sings «With the love and the Dean and the cookies», adapted with the cute «Le campane dell’amore fan din din», (the bells of love go din din) playing on the pronunciation of Dean.
As far as the synchronism is concerned, however, during the first episode Michel complains about the fact that Rory is sitting on his chair and when she leaves it free, sighs «Ah, my chair», «Ah, la mia sediuccia» (my little chairy-wairy) in the Italian edition. But the endearing term, however cute, is redundant and the line out of sinc.
In the seventh episode, Rory tells her mother how much she admires her where men are concerned because they all worship the ground she walks on and Lorelai justifies it with «That’s because I just stole his wallet», adapted with «Catturo la loro attenzione» (I grab their attention). Like that though, the irony of the answer is totally lost. In the following episode Max and Lorelai have an appointment for a coffee together at her house and she asks «What are you gonna have?» / «Cosa ti offro?», and he answers «You know that was a leading question, right?» / «Questo era un lapsus freudiano, vero?». But a “leading question” isn’t a Freudian lapsus, which is an unconscious error but more like a sort of prompting.
In another occasion, the woman says «I want a pet», translated by «Voglio un piccolo cane», (I want a small dog) but the line, apart from being out of synchronism, stands out slightly: who would say they want a small dog? More like ‘I want a puppy’.
Towards the end of the series Lorelai and Rachel talk about a place, the Dragonfly; the name has been translated in Italian but in the following series when Lorelai buys it the name is in English, an obvious lack of attention on behalf of the director. A similar negligence is found in the eighteenth episode when Mrs. Kim sells an antique piece to Emily and as always ends the sale with «We appreciate your business», a cliché she uses with each client. In fact in the other episodes it’s always been adapted with «Grazie per il suo acquisto» (Thanks for your purchase), this time it’s become «È bello fare affari con lei» (it’s nice doing business with you). I doubt it was a choice, easier for it to be the result of having different people adapt different episodes without coordinating the choices.
Another ironic line lost along the way of the adaptation in the same episode is when Rory and Lorelai are at the cinema watching the science fiction film “Queen of outer space”, and Rory says to her mother that she’s wrong not to be happy about her relationship with Luke «Solo per un tribunale di matti» (only for a tribunal of mad men), whilst the original was «Only in an intergalactic court», with an obvious reference to the film on screen which is lost also thanks to the lack of a clear notice.
The telefilm is excellent, happy, sparkling, but not frivolous. The Italian edition is very good as far as the dubbing direction is concerned a little less for the adaptation of the dialogues which has caused the loss of more than one of the stars’ funny lines. Merit is due, however, to the dialogists, for having well adapted some other references very much embedded in American culture but which would not have been understood by the Italian public.
[original review in Italian by Alessandra Basile]