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Andrew Adamson


Jeffrey Price, Peter S. Seaman, Jon Zack, Howard Gould


Chris Miller, Raman Hui

produced by:

Dreamworks Animation

distributed by:


Italian dialogues:

Francesco Vairano

dubbing direction:

Francesco Vairano

dubbing assistant:

Sabrina Lettini

editing society:

Dubbin Brothers International



Renato Cecchetto


Selvaggia Quattrini


Nanni Baldini

Gatto con gli Stivali:

Antonio Banderas


Flavio Aquilone

Principe Azzurro:

Francesco Prando


Francesco Vairano

Regina Lillian:

Maria Pia Di Meo

Re Harold:

Giorgio Lopez


Andrea Mete


Barbara De Bortoli


Gio'-Gio' Rapattoni


Ilaria Latini

Bella Addormentata:

Laura Latini


Corrado Conforti


Shrek the Third
USA 2007

The Shrek and Fiona saga continues, using new, narrative cues, new characters and new themes. In short, the Shrek saga is never boring.

The kingdom of Far Far Away is without King Harold (who died in a rather suffered manner) and the only two heirs are Shrek and a distant cousin, Arthur. The big, green ogre after having already tragically tried being king during his father-in-law's illness categorically refuses to carry out the role forever so he leaves with his inseparable friend Donkey and Puss-in-Boots in search of Arthur, the only person who could take on the role. Just as he's about to leave, Fiona shouts out to him that he's about to become a father, throwing him into a complete, emotional upheaval with the conviction that his nature is incompatible with that of the typical, father figure.

In the meantime we discover that Arthur (Artie, for his friends) is none other than a frightened, shy adolescent, definitely unprepared to be king. In the meantime, the Prince Charming is tired of being underestimated as an actor and organises the taking over of the kingdom of Far Far Away helped by fairytale castaways. So begins the educational journey of Artie: gathering knowledge of himself and his capabilities and eventually excepting in good faith and with maturity the role which awaits him and that of Shrek who will win his insecurities and become a good father.

The third Shrek sequel has not betrayed its fans' expectations. The theme is captivating and has developed new narrative ties and themes, the dialogues are still bright, vibrant and enjoyable and the film proposes moments of reflection. First, above all, the feminine awareness of Fiona and her mother who encourage the other fairytale heroines (Cinderella, Sleeping Beauty, Snow White) to defend themselves on their own and not to wait, inactively, for their respective Princes to save them. This warning and effective piece of advice was launched to all the women in the world by the same Cameron Diaz, Fiona's dubber in the original version.

Finally, it's impossible not to mention the new character, Merlin, who, just getting over a nervous breakdown, helps Artie and his friends to return to Far Far Away, but not without hiccups.

The Italian edition is quite good, both as far as the dubbing direction is concerned and as far as the dialogue layout. The voices for the new characters have also been well chosen. The recital of Flavio Aquilone for Artie is good, more timid and fragile at the beginning of the journey, more sure of himself when he becomes king. The same Vairano – also dubbing director – gives a fantastic interpretation as Merlin on the brink of a nerve crisis.

The novelty of this episode of the Shrek saga is Puss-in-Boots who is not dubbed by Massimo Rossi anymore but by the very same Antonio Banderas. The recital is excellent and his Spanish accent is definitely more original than any accent Massimo Rossi could do. However in the cinema you immediately grasp the fact that the voice is different and in general these sort of changes aren't welcomed or accepted. In this case, the public got used to the voice quite quickly.

The dialogues have been well adapted: they maintain the same original spirit of the film, its rhythm and it's lexical registrar.

The result of the adaptation of the dialogues between the youngsters at Artie's high-school is excellent. Like youngsters in any generation they use particular expressions and neologisms so we hear lines like «Che schifiltà» (what filth), «Sì, una cifrà» (yeah huge). Apart from that, we point out that the comment “schifiltà” was directed to poor Shrek by a girl with a rather lazy indolent air about her.

The high school bully's line is worthy of mention after Shrek has communicated to everyone that Artie is the new king of Far Far Away. The youngster laughs and comments: «Artie il nuovo re? Forse sindaco di Sfigatoville!» (Artie the new king? More like mayor of Unluckyland).

The translation of a shop sign is good (rightly read out to us by an off-screen voice). From “Ye old booter” substituted by “Ye old hooters”. The adaptation was “Al vecchio gambale” / ”Alla vecchia sgambona” (to the old bootleg/to the old ...long-legger).

Very few negative points on the dialogue layout: in the first few minutes we see Prince Charming who puts himself to the test, with scarce results, in a theatrical performance at the restaurant-theatre; noticing that the public is not appreciating him, a waiter passing in between the tables hums “best wishes to you” instead of the classical “best of luck to you”. If it was meant to be a gag, it didn't work.

Finally, a few minutes later, following the failed recital, Prince Charming finds refuge in his changing room and an off-screen voice translates a card left to him by his mother: «Don’t stop believing». Translated with «Non smettere di credere». But like that we spontaneously ask in what should Prince Charming not stop believing. It would have been better «Non smettere di crederci» (don't stop believing in it).

Some imprecisions also in the subtitles. First of all, during King Harold's funeral the writing on the coffin has not been subtitled “Ye olde Foot Locker”, parody of the shoe shop “Foot Locker”. One must not forget that Far Far Away is the imitation of Hollywood with even the sign on the hill and therefore also the scene of the height of fashion.

Likewise the sign that the high-school youngsters attached to Donkey's back after having closed him in a cupboard hasn't been subtitled. The sign bears the writing “I suck-eth”/”Faccio schifo”. Amongst other things, “suck-eth” is a particular expression, made to seem elegant and cultured so as to appear that the person who insults is more intelligent and refined than the person being insulted. All this is lost, both on the average spectator but even more so on the children watching the film.

However the decision NOT to subtitle the sign “Unhappy hour” at the bar entrance is a correct one. It's a game of words in the original language and as such, should in theory be translated but on the other hand Happy Hour is used in Italy so one can presume that the majority of the audience understood the line.

Apart from these little imperfections, the film is very enjoyable and the Italian edition has not lessened its worth.

[original review in Italian by Alessandra Basile]


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