Graphics, animation, film drawings Spank’s love penalties, In Italian cinemas from 13 to 16 February, on the occasion of Valentine’s Day thanks to a Nexostudio projectthey are the same as the animated series Hallo Spankarrived in Italy in 1982.
It is explained by the fact unlike other experiences of Goldrake And Lady Oscartelling the rest of the dossier, the film on Spank is not a remake but the re -proposal of a feature film by TMS Entertainment produced by Hiroshi Hagino, Shizuhiko Sengoku, Yutaka Fujioka Screenplay Akifumi Yoshida, Chifonde Asakura, Masaaki Sakurai, Yoshimi Shinozaki, Yutaka Kaneko Regiai Regiako Regiako Regiako Regiako Regiako Regiako Shigetsugu Yoshida Direction of the Takao Kōzai animation, released in Japan in 1982.
Spank and Torakiki, dog and cat, in every sense, – we have seen them with the preview film -, are the same as then: they move and animated exactly like those we know and their funny physicality is intact. As in the animated series, the humans around are almost supporting and the overall story is quite slender: the real center that has always been dog and cat, with the whole to frame their gags and their zuff. Also in the film, the substance is the one that is expected, even if episodes and characters, including characters, have been synthesized in a smaller number of figures, some of which are new but able to recall faces and styles already known.
But all this is basically a detail, because what originally and over time made the fortune of the Italian version of the series Hallo Spankmuch higher and lasting, compared to that of the original Japanese and other versions was the brilliant dubbing of Liù Bosisio the first Pina di Fantozzi– with Isa Di Marzio as second voice in some episodes – which gave the funny white dog protagonist not only the voice but really the soul and his unmistakable character: an exhilarating child voice that made the spirit of the character unique. While Sandro Pellegrino, who disappeared in 2013 he gave the Torakiki cat, rough only apparently, that formidable, improbable Teutonic accent that has given him an irresistible comedy.
In the film, with a different dubbing, those souls are saved only at times. In the film Spank, with the voice given years ago by Paolo Macedonio, he loses part of his stamp and his tone, Torakiki a little less, perhaps because it is more defilated, even if he leaves on the street almost completely the surreal accent in which he was hidden The secret of his comic vis.
Obviously the fault of the time spent, of the changes: it is always the challenge of animation where often the largest part of the soul given from the items. Changing, even when as in this case it is inevitable, it is always a bit betraying, especially if the look at the past.
It must be said that Spank and Torakiki were not born as we met them, only in the Italian series were it, but it is true that it was precisely that dubbing that did not go unnoticed in the tide of animated series imported at the time. In some ways the voice actors of that time saved them, even improving them probably. And in fact, in the film, perhaps closer to the original version, something does not return, also thanks to some impasses in history. Not only A significant part of the walk is lost, but some details bring out contradictions in the construction of the protagonistwhich perhaps explain his uncertain fortunes in the rest of the world: the spank we know from the Italian version of the 1982 series is consistent with his animated physicality: his love pain is always concretized in abysmal despair and crying in Fontana which, however, hardly They survive the call of the forest of a donut or a steak, instead he reconciles, instead, with a scene like the one that in the film, after the marriage that is seen in the poster, sees that character included in the clumsy naivety of an ‘ Ideal childhood and not intended for growth, suddenly conceive gestures and adult thoughts from melodrama.
It smiles at times, when the animals speak little and they move a lot the magic of the past also returns, but the inconsistencies remain, while the Fantozzian comedy has gone forever. Nostalgia remains and sometimes prevails, but the operation only succeeds in half.
