Comedy
Film Studio
Actors
Love
Intrigue
Film Studio
Actors
Love
Intrigue
CHARACTERS BIBLE
Marcello Mastroianni — Vasily Tyurin, 36 years old. Unlike Mastroianni, he did not make an acting career, although he had and has every reason to.
Sophia Loren — Raisa Ivanovna, 33 years old, a real fighter, a loyal comrade, never minces her words. She has never been married, because, unlike the rest of the female population, she never wanted to get married.
Mastroianni's son is Lukin, young, promising, and full of potential. That is, he has everything in the future and nothing in the present.
Teresa, Mastroianni's son's beloved, is Alla, 24 years old, talented but stupid. Oddly enough, talent and stupidity go together. Sometimes...
Dubbing director is Evgenia Borisovna Tikhomirova, about fifty years old, a woman of the strictest principles, brimming with moral principles, she fights for moral purity, which does not prevent her from remaining a decent person.
Assistant director is Svetlana Nikolskaya, 30 years old, very beautiful. This is her advantage, this is her disadvantage. This is her strength, this is her weakness. This is what attracts her, this is what repels her.
The author of the Russian text of the Italian-French film is Balakina, any age, smart, cynical, knits better than she writes.
FUTURE VIEWERS OF THE DUBBED FILM:
Usachev Alexander Yegorovich - he is almost forty. He loves Svetlana and his work abroad very much. He loves his work more.
Vitaly - 35 years old, mysterious, but simple, rude, but nice.
SYNOPSIS
Act One.
Scenery One.
The Italian-French film "Love Italian Style," starring Marcello Mastroianni and Sophia Loren, is being dubbed in the recording studio.
Director Tikhomirova and her assistant, Svetlana, are supervising the dubbing process. Actors Alla and Lukin voice the dialogue between Mastroianni's son and his lover, Teresa, while quietly discussing the problem of Alla and her family moving to a new apartment in a new building. Suddenly, Tikhomirova interrupts the rehearsal. She is not satisfied with the Italian text: morally, it is unsuitable for our audience. The Russian lyricist, the completely unflappable Balakina, who knits a sweater throughout the entire scene, instantly offers new variations at the director's request, which ultimately transform the dramatic scene into a comedy.
The actor Tyurin, who dubs for Mastroianni, is expected from Leningrad to dub the next scene. The situation is complicated by the fact that the assistant director, Svetlana, is Tyurin's ex-wife. Raisa, dubbing for Sophia Loren, appears with her arm in a sling. It turns out she was hit by a car. The actress is accompanied by Vitaly, the driver of the car. He does not leave her side for a moment; he seems enchanted by Raisa, who constantly emphasizes that she is against marriage, although not against men.
Tyurin, who has arrived, greets everyone present like an old acquaintance. He sees Svetlana. They look at each other silently. Tikhomirova is wary, and Raisa is waiting with poorly concealed interest for events to unfold. Balakina is indifferently knitting a sweater and a new Russian text, as Tikhomirova puts it. Alla is trying to call someone about exchanging her apartment. These worries of hers run through the entire action of the play in the background.
Tyurin's face becomes cold and distant. He takes an effort to meet Svetlana.
The dubbing begins, everything goes well, but upon listening, it turns out that nothing was recorded because they forgot to turn on the equipment.
Scene Two.
A few hours later, Raisa and Svetlana leave the film studio. Raisa is met by Vitaly. He has a car and is ready to drive her everywhere. Svetlana is tasked with getting Tyurin into a hotel; complications arise, and Svetlana invites him to her place, to their former apartment. They haven't seen each other for four years since their divorce. Tyurin announces that he got married and has two children, a boy and a girl, and Svetlana explains that she and her husband have a Zhiguli car and a dacha. They live in two apartments, but are considering a three-room co-op apartment in the future. Interestingly, she suggests that Tyurin arrive not immediately, but in an hour and a half.
Scene Three.
Svetlana hurriedly brings men's clothes from her neighbor into her one-room apartment, even a winter coat and skis. Tyurin appears. Svetlana announces that her husband is at a banquet and will be staying in another apartment later. Tyurin looks around, critically assessing the changes in the apartment. Svetlana feeds Tyurin scrambled eggs, just as she once did. Tyurin tells her he's preparing a new concert composition and recites Mikhail Svetlov's poems from it.
Without any transition, he accuses Svetlana of leaving him not because she fell in love with Usachev, but because he took her to Italy, where she could do a lot of shopping, thus marrying Italy. They bicker. Svetlana pretends to go to her husband's other apartment and hides in her neighbor's. Tyurin is unaware of Svetlana's maneuver. In a great mood, he turns on the music and starts dancing. Suddenly, the doorbell rings. Tyurin thinks it's Svetlana returning and greets her from behind the door. Usachev is speechless at the sound of a man's voice outside the door. He enters the apartment, sees Tyurin and the men's clothes scattered throughout the apartment, and examines the skis. Tyurin invites him to go skiing. The rivals bicker sarcastically. Usachev leaves.
Scene Four.
Morning in Svetlana's apartment. She returns from the neighbor's. She pretends to have come from her husband's to feed Tyurin breakfast, almost letting it slip several times. Both pretend to call, she to her husband (actually Raisa), he to his wife (actually Tikhomirova).
Scene Five.
At the entrance to the film studio, Tyurin and Svetlana meet Usachev, who asks Svetlana to return to him. He is offered to go to Australia as a sales representative, and he invites Svetlana to go with him, promising her mountains of gold there. She announces that she has made peace with Tyurin, who has already brought his things, even skis. Usachev recalls that he even invited him to go skiing. Svetlana leaves.
Back to the studio. Alla develops the topic of moving, now with Balakina. Tyurin explains himself to Tikhomirova and admits that he has neither a wife nor children.
In the midst of explanations, Raisa appears and reports that she was robbed, the groceries and things she left in Vitaly's car were stolen, the car is also missing. Raisa does not know the Volga's license plate number or Vitaly's last name. After a bit of worry, everyone gets back to work. Suddenly, the mysterious Vitaly appears, laden with Raisa's missing things. It turns out that he had to leave urgently for work. He is not married, has no children, but has a red pass, with which he freely enters the studio.
Tikhomirova once again demands that Balakina rewrite the text. During the break, Raisa and Tyurin make music. Tyurin is clearly performing a romance to Blok's poem "About valor, about exploits, about glory..." for Svetlana. Tikhomirova enters the studio and notices Tyurin and Svetlana looking at each other. Out of friendly sympathy for Tyurin, Tikhomirova tenderly tries to warn him: "Vasya, you are kind, honest, you are a talented artist! Why do you need this overdressed thing?" But Vasya likes the overdressed thing and does not want to give it up.
The dubbing continues. A dialogue between Mastroianni and Sophia Loren, an argument about the fidelity of husbands and wives. Tikhomirov is again not satisfied with the text.
Quote: "Balakina (tiredly). Nitpicking again? In my opinion, this scene could be performed at a children's matinee.
Tikhomirova. So, does this mean that Italy is riddled with immorality?
Balakina. It's not my way, it's their way.
Tikhomirova. I won't allow Italy to be discredited. Redo the text so that not all husbands cheat on their wives, and not all wives cheat on their husbands!
Balakina. No problem! ”
Act Two.
Scenery Six.
Vitaly drops Raisa off at the film studio and begins to declare his love, but suddenly looks at his watch, gasps, and quickly disappears, baffling Raisa.
The dubbing is underway in the studio. Tyurin and Lukin are dubbing Mastroianni and his son, the son is rudely arguing with his father. Tikhomirova is again dissatisfied with the text – a bad example for our sons. Balakina responds traditionally: no problem, goes out into the hall, and continues knitting. While the scene is being rewritten, Lukin runs to the acting department to see if there are any requests for him; everyone needs extra income.
Svetlana invites Tyurin to her home for her birthday. Tyurin is still playing the role of a married man, but he declines, not wanting to see a rival. Svetlana assures him that Usachev won't be there; he's busy with work. The dubbing continues, with Tyurin voicing Mastroianni's monologue. After the recording, they decide to listen to it. Suddenly, a completely different text is heard. A conversation between Tyurin and Tikhomirova was accidentally recorded, during which he admitted that he has neither a wife nor children. Everyone is stunned. Svetlana is overjoyed. Tikhomirova is upset because, knowing Svetlana, she understands that this woman will not make him happy.
And so it happened. Tyurin and Raisa go to a cafe, on the way out they meet Usachev, who pesters Tyurin with a request to give up Svetlana to him. He has been offered a job in Australia, he wants to go there with Svetlana, who does not agree to go, and wants to stay with Tyurin.
Scene Seven
Svetlana's apartment, she is greeting guests. Raisa and Vitaly, who brought her, appear on the landing. Vitaly proposes to her and again, glancing at his watch, suddenly runs off. Raisa and Svetlana express their views on marriage. The phone rings, Usachev appears with a basket of flowers, Svetlana does not invite him. He takes his leave, but reminds her that he is waiting for her consent to leave for Australia. Alla appears, reporting the next stage of the fight against resettlement to new buildings. The phone rings and Tyurin appears with a pile of expensive groceries. Svetlana and Tyurin retreat to the kitchen, kiss, and dream of being alone. Raisa understands the situation, but then Vitaly appears with champagne and cake, eager for the celebration to continue, inviting everyone to dance, then picking up a guitar and singing the famous song about the Chuysky Tract and Kolka Snegiryov. Finally, they leave with sweets to go.
Scene Eight
Svetlana's apartment a few days later. Tyurin and Svetlana are preparing for renovations. They discuss Svetlana's divorce from Usachev. Svetlana complains about her life with Usachev in Italy.
Quote: Svetlana: How we saved up for everything there! Do you think I've been to Venice? I've never been anywhere... I once ran to the Vatican Museum to look at the Sistine Chapel... He gave me such a chapel... The entrance ticket costs five hundred lire...
The phone rings, it's Usachev. Svetlana makes an appointment with him at the studio to discuss the divorce.
Raisa and Vitaly appear. Finally, the situation with his hasty disappearances becomes clear - it turns out he is the personal driver of a big boss.
Everyone heads to the studio. Usachev is waiting for Svetlana at the entrance. Tyurin leaves Svetlana with him, counting on them going to the divorce. But Usachev persuades her to go to Australia, painting the most tempting prospects for her: outfits, trips, money. He knows what will tempt her; he rightly notes that he and Svetlana are birds of a feather. Tikhomirova and Raisa have understood this for a long time now. He warns Svetlana that they need to submit their passports for processing on the 16th. Svetlana is at a loss.
Scene Nine.
The recording studio three days later. The last day of dubbing. The sixteenth.
In the studio are Tikhomirova, Tyurin, Svetlana, Raisa, Lukin, Balakina. They decide to celebrate the completion of the work.
Quote: Lukin. I also have a celebration. I was approved for the role of a mute slave. Imagine, I am in the frame the whole time, next to the main character, but I don’t utter a single word. But there is room for facial expressions.
Alla runs in, filled with triumph: she was given an apartment in the center. Svetlana is nervous, literally can’t find a place for herself. Tyurin is invited to continue the voice-over. Tikhomirova is finally satisfied with the text. The phone rings. Svetlana picks up; it's Usachev calling; he's waiting for her. Svetlana quietly tells Raisa that she thinks she's leaving for Australia. Raisa announces that she loves Vitaly and is marrying him. With these words, Svetlana leaves for Usachev, saying that she loves Vasily. Tyurin tries to stop her, but realizes it's futile. When Tikhomirova asks where she went after work, Tyurin replies that she went to Australia. Tikhomirova sympathizes with Tyurin, and Balakina comes to an unexpected conclusion: it ended well, but why does Vasily Sergeyevich need such a wife? Such a wife is a misfortune. He needs to pull himself together and forget about her. And he utters his favorite phrase: no problem! The voice-over continues. In the text they are dubbing, the heroine, tormented by her relatives' nagging, threatens to move with her husband to the middle of nowhere... to Australia...
Tikhomirova orders Balakina to sort this all out and send them somewhere else. Balakina promises to send them somewhere far away.
Svetlana runs through the hall into the studio. Everyone turns to look at her. A pause. Svetlana, it turns out, forgot her purse, grabs her purse from the table and runs out again.
Balakina says: The end! And no problem!
End of the play.
Sophia Loren — Raisa Ivanovna, 33 years old, a real fighter, a loyal comrade, never minces her words. She has never been married, because, unlike the rest of the female population, she never wanted to get married.
Mastroianni's son is Lukin, young, promising, and full of potential. That is, he has everything in the future and nothing in the present.
Teresa, Mastroianni's son's beloved, is Alla, 24 years old, talented but stupid. Oddly enough, talent and stupidity go together. Sometimes...
Dubbing director is Evgenia Borisovna Tikhomirova, about fifty years old, a woman of the strictest principles, brimming with moral principles, she fights for moral purity, which does not prevent her from remaining a decent person.
Assistant director is Svetlana Nikolskaya, 30 years old, very beautiful. This is her advantage, this is her disadvantage. This is her strength, this is her weakness. This is what attracts her, this is what repels her.
The author of the Russian text of the Italian-French film is Balakina, any age, smart, cynical, knits better than she writes.
FUTURE VIEWERS OF THE DUBBED FILM:
Usachev Alexander Yegorovich - he is almost forty. He loves Svetlana and his work abroad very much. He loves his work more.
Vitaly - 35 years old, mysterious, but simple, rude, but nice.
SYNOPSIS
Act One.
Scenery One.
The Italian-French film "Love Italian Style," starring Marcello Mastroianni and Sophia Loren, is being dubbed in the recording studio.
Director Tikhomirova and her assistant, Svetlana, are supervising the dubbing process. Actors Alla and Lukin voice the dialogue between Mastroianni's son and his lover, Teresa, while quietly discussing the problem of Alla and her family moving to a new apartment in a new building. Suddenly, Tikhomirova interrupts the rehearsal. She is not satisfied with the Italian text: morally, it is unsuitable for our audience. The Russian lyricist, the completely unflappable Balakina, who knits a sweater throughout the entire scene, instantly offers new variations at the director's request, which ultimately transform the dramatic scene into a comedy.
The actor Tyurin, who dubs for Mastroianni, is expected from Leningrad to dub the next scene. The situation is complicated by the fact that the assistant director, Svetlana, is Tyurin's ex-wife. Raisa, dubbing for Sophia Loren, appears with her arm in a sling. It turns out she was hit by a car. The actress is accompanied by Vitaly, the driver of the car. He does not leave her side for a moment; he seems enchanted by Raisa, who constantly emphasizes that she is against marriage, although not against men.
Tyurin, who has arrived, greets everyone present like an old acquaintance. He sees Svetlana. They look at each other silently. Tikhomirova is wary, and Raisa is waiting with poorly concealed interest for events to unfold. Balakina is indifferently knitting a sweater and a new Russian text, as Tikhomirova puts it. Alla is trying to call someone about exchanging her apartment. These worries of hers run through the entire action of the play in the background.
Tyurin's face becomes cold and distant. He takes an effort to meet Svetlana.
The dubbing begins, everything goes well, but upon listening, it turns out that nothing was recorded because they forgot to turn on the equipment.
Scene Two.
A few hours later, Raisa and Svetlana leave the film studio. Raisa is met by Vitaly. He has a car and is ready to drive her everywhere. Svetlana is tasked with getting Tyurin into a hotel; complications arise, and Svetlana invites him to her place, to their former apartment. They haven't seen each other for four years since their divorce. Tyurin announces that he got married and has two children, a boy and a girl, and Svetlana explains that she and her husband have a Zhiguli car and a dacha. They live in two apartments, but are considering a three-room co-op apartment in the future. Interestingly, she suggests that Tyurin arrive not immediately, but in an hour and a half.
Scene Three.
Svetlana hurriedly brings men's clothes from her neighbor into her one-room apartment, even a winter coat and skis. Tyurin appears. Svetlana announces that her husband is at a banquet and will be staying in another apartment later. Tyurin looks around, critically assessing the changes in the apartment. Svetlana feeds Tyurin scrambled eggs, just as she once did. Tyurin tells her he's preparing a new concert composition and recites Mikhail Svetlov's poems from it.
Without any transition, he accuses Svetlana of leaving him not because she fell in love with Usachev, but because he took her to Italy, where she could do a lot of shopping, thus marrying Italy. They bicker. Svetlana pretends to go to her husband's other apartment and hides in her neighbor's. Tyurin is unaware of Svetlana's maneuver. In a great mood, he turns on the music and starts dancing. Suddenly, the doorbell rings. Tyurin thinks it's Svetlana returning and greets her from behind the door. Usachev is speechless at the sound of a man's voice outside the door. He enters the apartment, sees Tyurin and the men's clothes scattered throughout the apartment, and examines the skis. Tyurin invites him to go skiing. The rivals bicker sarcastically. Usachev leaves.
Scene Four.
Morning in Svetlana's apartment. She returns from the neighbor's. She pretends to have come from her husband's to feed Tyurin breakfast, almost letting it slip several times. Both pretend to call, she to her husband (actually Raisa), he to his wife (actually Tikhomirova).
Scene Five.
At the entrance to the film studio, Tyurin and Svetlana meet Usachev, who asks Svetlana to return to him. He is offered to go to Australia as a sales representative, and he invites Svetlana to go with him, promising her mountains of gold there. She announces that she has made peace with Tyurin, who has already brought his things, even skis. Usachev recalls that he even invited him to go skiing. Svetlana leaves.
Back to the studio. Alla develops the topic of moving, now with Balakina. Tyurin explains himself to Tikhomirova and admits that he has neither a wife nor children.
In the midst of explanations, Raisa appears and reports that she was robbed, the groceries and things she left in Vitaly's car were stolen, the car is also missing. Raisa does not know the Volga's license plate number or Vitaly's last name. After a bit of worry, everyone gets back to work. Suddenly, the mysterious Vitaly appears, laden with Raisa's missing things. It turns out that he had to leave urgently for work. He is not married, has no children, but has a red pass, with which he freely enters the studio.
Tikhomirova once again demands that Balakina rewrite the text. During the break, Raisa and Tyurin make music. Tyurin is clearly performing a romance to Blok's poem "About valor, about exploits, about glory..." for Svetlana. Tikhomirova enters the studio and notices Tyurin and Svetlana looking at each other. Out of friendly sympathy for Tyurin, Tikhomirova tenderly tries to warn him: "Vasya, you are kind, honest, you are a talented artist! Why do you need this overdressed thing?" But Vasya likes the overdressed thing and does not want to give it up.
The dubbing continues. A dialogue between Mastroianni and Sophia Loren, an argument about the fidelity of husbands and wives. Tikhomirov is again not satisfied with the text.
Quote: "Balakina (tiredly). Nitpicking again? In my opinion, this scene could be performed at a children's matinee.
Tikhomirova. So, does this mean that Italy is riddled with immorality?
Balakina. It's not my way, it's their way.
Tikhomirova. I won't allow Italy to be discredited. Redo the text so that not all husbands cheat on their wives, and not all wives cheat on their husbands!
Balakina. No problem! ”
Act Two.
Scenery Six.
Vitaly drops Raisa off at the film studio and begins to declare his love, but suddenly looks at his watch, gasps, and quickly disappears, baffling Raisa.
The dubbing is underway in the studio. Tyurin and Lukin are dubbing Mastroianni and his son, the son is rudely arguing with his father. Tikhomirova is again dissatisfied with the text – a bad example for our sons. Balakina responds traditionally: no problem, goes out into the hall, and continues knitting. While the scene is being rewritten, Lukin runs to the acting department to see if there are any requests for him; everyone needs extra income.
Svetlana invites Tyurin to her home for her birthday. Tyurin is still playing the role of a married man, but he declines, not wanting to see a rival. Svetlana assures him that Usachev won't be there; he's busy with work. The dubbing continues, with Tyurin voicing Mastroianni's monologue. After the recording, they decide to listen to it. Suddenly, a completely different text is heard. A conversation between Tyurin and Tikhomirova was accidentally recorded, during which he admitted that he has neither a wife nor children. Everyone is stunned. Svetlana is overjoyed. Tikhomirova is upset because, knowing Svetlana, she understands that this woman will not make him happy.
And so it happened. Tyurin and Raisa go to a cafe, on the way out they meet Usachev, who pesters Tyurin with a request to give up Svetlana to him. He has been offered a job in Australia, he wants to go there with Svetlana, who does not agree to go, and wants to stay with Tyurin.
Scene Seven
Svetlana's apartment, she is greeting guests. Raisa and Vitaly, who brought her, appear on the landing. Vitaly proposes to her and again, glancing at his watch, suddenly runs off. Raisa and Svetlana express their views on marriage. The phone rings, Usachev appears with a basket of flowers, Svetlana does not invite him. He takes his leave, but reminds her that he is waiting for her consent to leave for Australia. Alla appears, reporting the next stage of the fight against resettlement to new buildings. The phone rings and Tyurin appears with a pile of expensive groceries. Svetlana and Tyurin retreat to the kitchen, kiss, and dream of being alone. Raisa understands the situation, but then Vitaly appears with champagne and cake, eager for the celebration to continue, inviting everyone to dance, then picking up a guitar and singing the famous song about the Chuysky Tract and Kolka Snegiryov. Finally, they leave with sweets to go.
Scene Eight
Svetlana's apartment a few days later. Tyurin and Svetlana are preparing for renovations. They discuss Svetlana's divorce from Usachev. Svetlana complains about her life with Usachev in Italy.
Quote: Svetlana: How we saved up for everything there! Do you think I've been to Venice? I've never been anywhere... I once ran to the Vatican Museum to look at the Sistine Chapel... He gave me such a chapel... The entrance ticket costs five hundred lire...
The phone rings, it's Usachev. Svetlana makes an appointment with him at the studio to discuss the divorce.
Raisa and Vitaly appear. Finally, the situation with his hasty disappearances becomes clear - it turns out he is the personal driver of a big boss.
Everyone heads to the studio. Usachev is waiting for Svetlana at the entrance. Tyurin leaves Svetlana with him, counting on them going to the divorce. But Usachev persuades her to go to Australia, painting the most tempting prospects for her: outfits, trips, money. He knows what will tempt her; he rightly notes that he and Svetlana are birds of a feather. Tikhomirova and Raisa have understood this for a long time now. He warns Svetlana that they need to submit their passports for processing on the 16th. Svetlana is at a loss.
Scene Nine.
The recording studio three days later. The last day of dubbing. The sixteenth.
In the studio are Tikhomirova, Tyurin, Svetlana, Raisa, Lukin, Balakina. They decide to celebrate the completion of the work.
Quote: Lukin. I also have a celebration. I was approved for the role of a mute slave. Imagine, I am in the frame the whole time, next to the main character, but I don’t utter a single word. But there is room for facial expressions.
Alla runs in, filled with triumph: she was given an apartment in the center. Svetlana is nervous, literally can’t find a place for herself. Tyurin is invited to continue the voice-over. Tikhomirova is finally satisfied with the text. The phone rings. Svetlana picks up; it's Usachev calling; he's waiting for her. Svetlana quietly tells Raisa that she thinks she's leaving for Australia. Raisa announces that she loves Vitaly and is marrying him. With these words, Svetlana leaves for Usachev, saying that she loves Vasily. Tyurin tries to stop her, but realizes it's futile. When Tikhomirova asks where she went after work, Tyurin replies that she went to Australia. Tikhomirova sympathizes with Tyurin, and Balakina comes to an unexpected conclusion: it ended well, but why does Vasily Sergeyevich need such a wife? Such a wife is a misfortune. He needs to pull himself together and forget about her. And he utters his favorite phrase: no problem! The voice-over continues. In the text they are dubbing, the heroine, tormented by her relatives' nagging, threatens to move with her husband to the middle of nowhere... to Australia...
Tikhomirova orders Balakina to sort this all out and send them somewhere else. Balakina promises to send them somewhere far away.
Svetlana runs through the hall into the studio. Everyone turns to look at her. A pause. Svetlana, it turns out, forgot her purse, grabs her purse from the table and runs out again.
Balakina says: The end! And no problem!
End of the play.