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Quick links. Roberto Rossellini Discussion and info on people in film, ranging from directors to actors to cinematographers to writers. Post Reply 83 posts 1 2 3 4 Next. I can't download it because I'm on a mac, but I can watch it on their website. It's not ideal where's the DVD but it's the only place I've seen this film. I can't comment on quality, but it does appear to have subtitles.
Since there's a "hard block" against downloading films on demand from Amazon for URLs not within the US as if the rights to such a movie were to be so heavily protected from intrusion by nasty Europeans! Please let me know via private message. Alternately or in addition, I can copy something for you, by Rossellini or other, eg something not available in the US except as an expensive import.
Would be nice to think the rumoured Criterions would follow before long, but yeh. And I wouldn't expect any Criterion's for quite a while as from what I understand the other Ingrid films are in variably not great shape and need lots of work, which hasn't begun yet. I remember seeing it in a beautiful transfer not too long ago. This is the complete version with an English language soundtrack Methinks the upcoming Ital Blus may not necessarily be the solution I expect that if Criterion is working on such a set, it will be one of their most complicated and challenging undertakings.
Here's Tag Gallagher hopefully he can jump in here and talk about the other films as well on Stromboli's different versions: There are three editions of Stromboli. The first released was in the US by RKO, which reduced it to 82 mins, added a voice-over changed the editing, etc. All against RR's will. So forget about this one. The next version was Rossellini's own English-language edition, variously cited between and minutes, but all the same version. It was shot with most of the people speaking English.
And this was distributed internationally. About a year later, Rossellini released an Italian dubbing just for Italy but with Bergman's own voice , which added a short portion of a scene in the cemetery and altered the miracle at the end to make it more explicitly religious, and reduced the running time to about 97 minutes. My preference is for the English edition 2 above. Contact tag gallagher. Rossellini always wanted audiences to see his movies in their own language.
Also, almost all Italian films were post-synched until just recently, nothing in direct sound, and Italians, including Rossellini, almost never objected to dubbing -- I don't know why. Indeed, Italians frequently use different people for the dubbing, even when the actors who you see is Italian and speaking Italian, and no one objects except the actors. Oddly, English-speaking audiences never notice that the Italian is dubbed.
I think with the history films it's better to have a language you understand easily, because reading subtitles is a royal pain and pretty much destroys these films. Aside from that, surely the goal would be to have sound in the same language as the actors were speaking when filmed, and preferably with their own voices. In some cases, the choice is clear cut. Pascal, on the other hand, was shot with Pascal speaking French and everyone else speaking Italian, but Pascal seldom shuts up, and he's Pierre Arditi speaking his native tongue.
Socrates, likewise talkative, was French, with some of the bit players in Spanish, and he's ten times more intelligent in French the actor's own voice. German and Spanish dubbings also exist for some of these films. To repeat: Rossellini wanted them in the language of the audience. Stromboli was shot in English. Bergman dubbed herself in Italian.
The two editions differ slightly in editing, because the Italian version about 7 minutes shorter was made about a year after the English one, so the miracle, for example, is more explicitly religious.
Dramatically English makes more sense, because the heroine's problem is that she cannot communicate with the locals, and obviously much of that is lost if she's speaking fluent Italian. Fear was shot twice, once in English, once in German, with quite different editing, but the English edition is superior and slightly longer and was used to make the Italian dubbing all by Italians , although the German actor is still much beloved in Germany for the quality of his voice.
Joan of Arc was shot twice, once in Italian, once in French, with Bergman's voice both times but a third, French edition, dubbed her with another actress ; she seems far more at home to me in Italian than in French. The Chicken was shot in all three languages. The new Italians discs, alas, are only in Italian. No English for Medici, no English for the Bergmans. And Deutschland im Jahre Null, which was shot in German in direct sound, is in Italy only in the Italian dubbing which wasn't even done by Rossellini. India was made in French; I think only one print was struck.
- Versehrt (German Edition).
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About nine months later, an Italian edition appeared, with some minor re-editing. The voice doesn't matter much, as it's all voice-over. But again only one print was struck and the Italian "restored" this about 20 years ago and in the process lost the last two minutes, replaced these two minutes with 3 short shots cobbled from the beginning and then, to cover their asses, announced that Rossellini who was dead had cut off the ending.
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Then they sold this edition all over the world. Now they have restored it a second time, just in Italian, and I am waiting to see if they have restored the ending from the "lost" French print, which in the meantime was found in a closet. The "restoration" of La macchina leaves a lot to be desired. They don't seem to be trying to do a real class job on these movies. As for speaking English, it's suggested I think that she had some liaison with a German; obviously she's educated and middle-class.
Presumably English is the lingua franca. One couldn't get far with Lithuanian.
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Who knows? But it's not senseless than a middle-class educated Lithuanian spoke English. Do keep in mind that this was, in theory, an American production by RKO, and she and most of the other actors were therefore filmed speaking English.
So of course Bergman's character speaks English. Your objections would disappear if someone had bothered to insert a line explaining how she knows English. If in defense of the Italian edition, one wants to argue that, in theory, in the name of authenticity or sense, a northern woman in a displaced persons camp was more likely to speak Italian than English not an obvious argument!
The Power of Conversation , ed. Patrizia Palumbo, University of California Press, Contemporary Perspectives , ed. Giovanna Franci and Giovanna Silvani. Peter Bondanella and Andrea Ciccarelli. Albert Ascoli and Krystina Von Hennenberg. Oxford: Berg, Tonia Riviello Rome: Edizioni Croce, : Cambridge: Cambridge University Press, Lisa Panzera. Philadelphia, Moore College of Art and Design, Teoria e critica femminista tra Stati Uniti e Italia.
Intersezioni XVI, 2 : Robin Pickering Iazzi, Minneapolis: U. Emanuelle Genevois. Il Cavallo di Troia 3 : Special issue of The European Legacy , vol.