대부 2회차
솔로조를 터키 인으로 자막 번역했으나 known as the Turk이고 그 후 the Turk라고 칭함
마이클이 올리브 오일 사업 접는다고 한 걸 석유 산업으로 번역
모 그린이 프레도가 여자들과 놀아 나서 도박하는 사람들이 술을 못 마신다고 한 걸 음주가 어쩌고 저쩌고 한 것.
계속 햄버거 부시럭거리는 소리내며 먹다가 꼬까지 골며 영화 내내 자는 사람을 봤습니다. 아예, 다른 줄에 앉아 있던 사람이 와서 깨웠지만 또 코골며 자더군요. 고통스러웠습니다.
1962년에 나온 케이프 피어에는 도입부에 법원에서 청소하는 흑인빼고 전부 백인들만 나옴.10년 후 대부에서도 흑인은 일하는 사람들로만 나오고 영혼없는 동물들로 마약 소비층으로만 언급됨
올리브 오일은 큰 오역이군요 ㅎ 마침 대부 원서를 읽는 중인데, 조니 폰테인 관련 이야기가 이상하게 장황하네요 영화가 더 깔끔한 듯
폴린 카엘은 이렇게 썼죠
If ever there was a great example of how the best popular movies come out of a merger of commerce and art, The Godfather is it. The movie starts from a trash novel that is generally considered gripping and compulsively readable, though (maybe because movies more than satisfy my appetite for trash) I found it unreadable. You’re told who and what the characters are in a few pungent, punchy sentences, and that’s all they are. You’re briefed on their backgrounds and sex lives in a flashy anecdote or two, and the author moves on, from nugget to nugget. Mario Puzo has a reputation as a good writer, so his potboiler was treated as if it were special, and not in the Irving Wallace-Harold Robbins class, to which, by its itch and hype and juicy roman-à-clef treatment, it plainly belongs. What would this school of fiction do without Porfirio Rubirosa, Judy Garland, James Aubrey, Howard Hughes, and Frank Sinatra? The novel The Godfather, Financed by Paramount during its writing, features a Sinatra stereotype, and sex and slaughter, and little gobbets of trouble and heartbreak. It’s gripping, maybe, in the same sense that Spiro Agnew’s speeches were a few years back. Francis Ford Coppola, who directed the film, and wrote the script with Puzo, has stayed very close to the book’s greased-lightning sensationalism and yet has made a movie with the spaciousness and strength that popular novels such as Dickens’s used to have. With the slop and sex reduced and the whoremongering guess-who material minimized (“Nino,” who sings with a highball in his hand, has been weeded out), the movie bears little relationship to other adaptations of books of this kind, such as The Carpetbaggers and The Adventurers. Puzo provided what Coppola needed: a storyteller’s outpouring of incidents and details to choose from, the folklore behind the headlines, heat and immediacy, the richly familiar. And Puzo’s shameless turn-on probably left Coppola looser than if he had been dealing with a better book; he could not have been cramped by worries about how best to convey its style. Puzo, who admits he was out to make money, wrote “below my gifts,” as he puts it, and one must agree. Coppola uses his gifts to reverse the process—to give the public the best a moviemaker can do with this very raw material. Coppola, a young director who has never had a big hit, may have done the movie for money, as he claims—in order to make the pictures he really wants to make, he says—but this picture was made at peak capacity. He has salvaged Puzo’s energy and lent the narrative dignity. Given the circumstances and the rush to complete the film and bring it to market, Coppola has not only done his best but pushed himself farther than he may realize. The movie is on the heroic scale of earlier pictures on broad themes, such as On the Waterfront, From Here to Eternity, and The Nun’s Story. It offers a wide, startlingly vivid view of a Mafia dynasty. The abundance is from the book; the quality of feeling is Coppola’s.
https://scrapsfromtheloft.com/movies/the-godfather-alchemy-review-by-pauline-kael/
코폴라가 저렇게 잘 만들 줄 알았으면 더 잘 쓸 걸 그랬다고 푸조가 그랬다죠
미국 대학 도서관에서 대부를 집어드니 책이 자연스레 펼쳐진 부분이 소니의 정사 장면이었다는 글을 본 적 있어요,얼마나 많이들 읽었으면.
그 장황한 마리오 푸조 책이 읽히고 베스트셀러가 된 시대가 있다는 게 요즘으로서는 믿기지 않습니다.
솔로조는 터키에 양귀비 밭이 있다고 대사에 나오고 구글 좀 하면 터키 여자와 결혼한 이탈리아 인인 거 다 나오는데 번역자가 안 한 듯
올리브 오일이라고 대사에 나오는데 석유로 한 건 크죠
디 오퍼보면 푸조와 코폴라가 죽이 잘 맞습니다. 둘 다 뭐에 꽂히면 끝까지 가는 사람들이니.
베리 레빈슨 프로젝트에는 제이크 질렌할이 코폴라