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Mike Gibas on 1 Sep 2021 at 2:53 pm
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Words cannot really describe how much I LOVED this presentation! While I am unfamiliar with the film and the book, the story of the struggles to bring this to the screen is almost worthy of a screenplay itself — I hope you plan to write one, as all the elements are there for an intelligent and insightful comedy! One question: you mention that the German version had its own compromises to make to arrive at a place suitable for its divided community. Where did the English version (dubbed or subtitled) fall in terms of the tone and the subject matter?

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  Raffaele Chiarulli on 3 Sep 2021 at 11:42 am
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  The English version is a dubbing of the Italian one (so more comedy than drama). The film was “sold” in America as an inoffensive comedy. The CIA’s denial of the Oscar served to keep the focus off a story that promoted agreement between different ideologies.
  
  The plot, before the film was made, had interested Frank Capra and Spencer Tracy (who seemed to be playing the priest). Who knows what kind of Hollywood movie we would have had if…?
  
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Mike Gibas on 1 Sep 2021 at 2:58 pm
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Also, could you let me know the source of the Casetti and Conti quotes from your presentation? I love both of them (and very much relate to my own PhD studies).

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  Raffaele Chiarulli on 3 Sep 2021 at 11:30 am
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  Francesco Casetti’s is a summary of the thesis of his book “The Eye of the Century”. I used my own words to say what he explains in the introduction and conclusion of the book. I will give you the exact data of the other quote later.
  
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  Raffaele Chiarulli on 9 Sep 2021 at 4:37 pm
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  Guido Conti, “La scoperta del cinema come arte”, in “Le burrascose avventure di Giovannino Guareschi nel mondo del cinema” (edited by Egidio Bandini, Giorgio Casamatti, Guido Conti), MUP, Parma 2008, p.26
  
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Luisa Cotta Ramosino on 2 Sep 2021 at 11:46 am
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Great presentation. It is really interesting to realize how big was the political relevance of this movie and on the other side the wight of “politics” in the writing process

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  Raffaele Chiarulli on 3 Sep 2021 at 11:22 am
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  There would be so much more to tell. For example, that all the Italian directors refused to make the film because they considered it anti-communist. And that in America, instead, the film was considered too “soft” on communists. Orson Welles himself, who dubbed the narrator in the English version, said he was worried that the film might cause trouble in the United States.
  
  It has also been shown that the CIA, for the same reasons, prevented the film from winning the Oscar for Best Foreign Language Film that the Academy had already decided to award.
  
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ELEANOR YULE on 2 Sep 2021 at 4:22 pm
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Fascinating – filming everything twice must have significantly increased the budget. I would be interested to know if they used the same actors for both versions of the script ?

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  Raffaele Chiarulli on 3 Sep 2021 at 11:16 am
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  Yes, they used the same actors. The set was the same. Each scene was shot twice, the first time in French and the second time in Italian (immediately afterwards, on the same day). The film cost a lot of money but the box office (Italian, French and international) repaid the expenses adequately.
  
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SRN 2021

Chiarulli – Camillo and Camillò. A “Double Screenplay” Case in a Post-war French-Italian Coproduction

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