Top 10 - Dialog în filme

      Când vizionez un film, de obicei, încerc să fiu atentă la toate detaliile, un film bun este acela care excelează din toate punctele de vedere: regie, scenariu, interpretare, scenografie etc. Întotdeauna am considerat că, absolut, orice subiect, orice idee, se poate concretiza într-un film atât timp cât are un scenariu bun la bază și, din păcate, acesta este punctul la care cele mai multe filme dau greș. Nu știu exact de ce se întâmplă lucrul acesta, poate că se pune prea mult accentul pe efecte speciale, poate mulți cred că dacă au un subiect bun și un regizor bun, nimeni nu o să mai fie atent la scenariu, poate că, din cauza că au apărut atât de multe filme, scenariștii se află într-un impas și astfel apelează la clișee. Motivele pot fi multe, dar ceea ce știu este că nimic nu mă mulțumește mai mult decât un scenariu bun, iar atunci când într-un film se mai inserează și o replică, un dialog original, natural, memorabil, care reușește să-ți transmită o anumită trăire, nici nu pot să fiu mai fericită în timpul vizionării.
    Lista ce urmează nu este un top al celor mai bune scenarii, ci un top al acelor dialoguri care pe mine m-au convins, care mi-au rămas în minte mult timp de la vizionare, care au reușit fie să mă facă să râd, să oftez, să mă emoționez, etc.:
    10. The Godfather - dialogurile din The godfather sunt autentice, simple și transmit o atmosferă tensionată.

    „Michael: My father is no different than any powerful man, any man with power, like a president or senator. 

Kay Adams: Do you know how naive you sound, Michael? Presidents and senators don't have men killed. 
Michael: Oh. Who's being naive, Kay?”

     9. Raging Bull -  filmele lui Scorsese, în special cele dinainte de '90, sunt excepționale din punct de vedera al scenariului, și nu numai. Raging Bull excelează la capitolul dialog, prin fapul că aceste dialoguri fie ele discuții importante, sau pur și simplu discuții obișnuite, banale, ele ajută foarte bine la portretizarea protagonistului.

     „ Jake La Motta: I'm gonna open his hole like this. Please excuse my French. I'm gonna make him suffer. I'm gonna make his mother wish she never had him - make him into dog meat... He's a nice, a nice kid. He's a pretty kid, too. I mean I don't know, I gotta problem if I should fuck him or fight him. 

Tommy Como: You're crazy. Fuck him or fight him. 
Salvy Batts: If you're really in love with that fucker, just watch out. 
Jake La Motta: By who? 
Salvy Batts: Janiro. 
Jake La Motta: You mean, you want me to get him to fuck you? 
Salvy Batts: Me? 
Jake La Motta: Yeah. 
Salvy Batts: No, I don't want him to fuck me. 
Jake La Motta: I could do that easily. 
Salvy Batts: How ya gonna do that? 
Jake La Motta: Because I'll get youse both in a ring, I'll give youse both a fuckin' beatin', ya both can fuck each other. 
Salvy Batts: I get all full of blood. 
Jake La Motta: You're used to that.”

     8. No Country for Old Men - dialogul cu moneda dintre Anton și proprietarul benzinăriei este atât de simplă și totuși atât de încărcată de tensiune, încât te ține cu răsuflarea tăiată.

    „Anton Chigurh: What's the most you ever lost on a coin toss. 

Gas Station Proprietor: Sir? 
Anton Chigurh: The most. You ever lost. On a coin toss. 
Gas Station Proprietor: I don't know. I couldn't say. 
Anton Chigurh: Call it. 
Gas Station Proprietor: Call it? 
Anton Chigurh: Yes. 
Gas Station Proprietor: For what? 
Anton Chigurh: Just call it. 
Gas Station Proprietor: Well, we need to know what we're calling it for here. 
Anton Chigurh: You need to call it. I can't call it for you. It wouldn't be fair. 
Gas Station Proprietor: I didn't put nothin' up. 
Anton Chigurh: Yes, you did. You've been putting it up your whole life you just didn't know it. You know what date is on this coin? 
Gas Station Proprietor: No. 
Anton Chigurh: 1958. It's been traveling twenty-two years to get here. And now it's here. And it's either heads or tails. And you have to say. Call it. 
Gas Station Proprietor: Look, I need to know what I stand to win. 
Anton Chigurh: Everything. 
Gas Station Proprietor: How's that? 
Anton Chigurh: You stand to win everything. Call it. 
Gas Station Proprietor: Alright. Heads then. 
[Chigurh removes his hand, revealing the coin is indeed heads] 
Anton Chigurh: Well done. 
[the gas station proprietor nervously takes the quarter with the small pile of change he's apparently won while Chigurh starts out] 
Anton Chigurh: Don't put it in your pocket, sir. Don't put it in your pocket. It's your lucky quarter. 
Gas Station Proprietor: Where do you want me to put it? 

Anton Chigurh: Anywhere not in your pocket. Where it'll get mixed in with the others and become just a coin. Which it is.”

     7. Mean Streets -Dintre toate filmele lui Scorses Mean Streets is the best, la capitolul scenariu. Dialogurile sunt originale, sunt naturale și reușesc să-ți stârnească o multitudine de reacții.

    „Michael Longo: You think she's good-looking? She's smart, too. She's gonna be a teacher. 

Tony DeVienazo: Let me see that. Oh, I know this girl. 
Michael Longo: Yeah? 
Tony DeVienazo: Yeah...I saw her kissing a nigger under a bridge. 
Michael Longo: What? What do you mean? 
Tony DeVienazo: A nigger. As in black. A nigger. 
Michael Longo: But what do you mean? 
Tony DeVienazo: I mean...kissing. Her lips on his lips. Kissing. 
Michael Longo: I kissed her.”

     6. Reservoir Dogs - ..There's something about Tarantino... în fiecare film al său Tarantino are acele dialoguri atât de naturale, pe subiecte ce, aparent, nu au nici o legătură cu acțiunea filmului. Sunt genul de discuții pe care le purtăm și noi cu pietenii, doar că sunt scrise într-un mod original, marca Tarantino, și se pliază perfect personalității personajelor. Dintre acestea, unul dintre preferatele mele este discuția de la începutul filmului Reservoir Dogs, despre Madonna și bacșiși. Cel mai bun mod de a-ți păstra privitorul în fața ecranului este să începi cu o scenă bună ce-i va stârni curiozitatea.

    „Mr. Brown: Let me tell you what 'Like a Virgin' is about. It's all about a girl who digs a guy with a big dick. The entire song. It's a metaphor for big dicks. 
Mr. Blonde: No, no. It's about a girl who is very vulnerable. She's been fucked over a few times. Then she meets some guy who's really sensitive... 
Mr. Brown: Whoa, whoa, whoa, whoa, whoa... Time out Greenbay. Tell that fucking bullshit to the tourists. 
Joe: Toby... Who the fuck is Toby? Toby... 
Mr. Brown: 'Like a Virgin' is not about this sensitive girl who meets a nice fella. That's what "True Blue" is about, now, granted, no argument about that. 
Mr. Orange: Which one is 'True Blue'? 
Nice Guy Eddie: 'True Blue' was a big ass hit for Madonna. I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue". 
Mr. Orange: Look, asshole, I didn't say I ain't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan. 
Mr. Blonde: Personally, I can do without her. 
Mr. Blue: I like her early stuff. You know, 'Lucky Star', 'Borderline' - but once she got into her 'Papa Don't Preach' phase, I don't know, I tuned out......”

     5. Annie Hall - bineînțeles Woody Allen nu avea cum să lipsească. E genial în portretizarea nevriticilor de toate tipurile, iar dialogurile din Annie Hall sunt demențiale.

     „Alvy Singer: Well, I didn't start out spying. I thought I'd surprise you. Pick you up after school. 

Annie Hall: Yeah, but you wanted to keep the relationship flexible. Remember, it's your phrase. 
Alvy Singer: Oh stop it, you're having an affair with your college professor, that jerk that teaches that incredible crap course, Contemporary Crisis in Western Man... 
Annie Hall: Existential Motifs in Russian Literature. You're really close. 
Alvy Singer: What's the difference? It's all mental masturbation. 
Annie Hall: Oh, well, now we're finally getting to a subject you know something about. 
Alvy Singer: Hey, don't knock masturbation. It's sex with someone I love. 
Annie Hall: We're not having an affair. He's married. He just happens to think I'm neat. 
Alvy Singer: "Neat." What are you, 12 years old? That's one of your Chippewa Falls expressions. 
Annie Hall: Who cares? Who cares? 
Alvy Singer: Next thing you know, he'll find you keen and peachy, you know. Next thing you know, he's got his hand on your ass. 
Annie Hall: You've always had hostility towards David, ever since I mentioned him. 
Alvy Singer: Dav - you call your teacher David? 
Annie Hall: It's his name. 
Alvy Singer: It's a Biblical name, right? What does he call you, Bathsheba?” 

     4. Five Easy Pieces - ador filmul, ador personajul lui Jack, iar scenariul mi se pare genial, un film ce se bazează pe dialoguri și o face într-un mod excepțional. Cu greu aș putea alege dialogul preferat din film.

    „Catherine: It's useless. 

Bobby: Look, give me a chance. 
Catherine: I'm trying to be delicate with you, but you just won't understand. I couldn't go with you. Not just because of Carl and my music, but because of you. 
Catherine: You're a strange person, Robert. I mean, what would it come to? If a person has no love for himself, no respect for himself, no love of his friends, family, work, something... How can he ask for love in return? I mean, why should he ask for it? 
Bobby: Living here in this rest home/asylum - that's what you want? 
Catherine: Yes. 
Bobby: That will make you happy? 
Catherine: I hope it will. Yes. 
Catherine: I'm sorry.”

     3. Pulp Fiction - din nou Tarantino. Ca să citez un dialog preferat din Pulp Fiction ar trebui să scriu tot scenariul. Astfel că, vă las să vă delectați cu discuțiile dintre Jules și Vincent, ce sunt de-a dreptul hilare.

    „Vincent: "You know what the funniest thing about Europe is?"
Jules: "What?"
Vincent: "It's the little differences. I mean they got the same s**t over there that they got here, but it's just - it's just there it's a little different."
Jules: "Examples?"
Vincent: "Alright, well you can walk into a movie theater in Amsterdam and buy a beer. And I don't mean just like in no paper cup, I'm talking about a glass of beer. And in Paris, you can buy a beer at McDonald's. And you know what they call a, uh, a Quarter Pounder with Cheese in Paris?"
Jules: "They don't call it a Quarter Pounder with Cheese?"
Vincent: "Nah, man, they got the metric system, they wouldn't know what the f**k a Quarter Pounder is."
Jules: "What do they call it?"
Vincent: "They call it a Royale with Cheese."
Jules: "Royale with Cheese."
Vincent: "Thats right."
Jules: "What do they call a Big Mac?"
Vincent: "A Big Mac's a Big Mac, but they call it Le Big Mac."
Jules: "Le Big Mac." [laughs] "What do they call a Whopper?"
Vincent: "I dunno, I didn't go into Burger King. But, you know what they put on french fries in Holland instead of ketchup?"
Jules: "What?"
Vincent: "Mayonnaise."
Jules: "Yuck!"....................”

     2. Dogville - Despre măreția filmului nu mai are rost să spun nimic, o știm cu toții, cât despre dialoguri, acestea sunt unice și senzaționale. Finalul este extrem de bine gândit, iar controversata replică de final al lui Grace este genială, îți rămâne imprimată în memorie. Cred că numai din ultima jumătate de oră a filmului, aș putea să citez cel puțin trei dialoguri memorabile.

    „Grace: What? What is it? 

Tom: A man can't really be blamed for being scared, now can he? 
Grace: No. 
Tom: No. I was scared, Grace. I used you and I am sorry. I'm stupid, I am, maybe even arrogant sometimes. 
Grace: You are, Tom. 
Tom: Although using people is not very charming, I think you have to agree that this - specific illustration has surpassed all expectations. It says so much about being human! It's been painful, but I think you'll also have to agree it's been edifying, wouldn't you say? 
Grace: Not now, Tom. Not now. 
Grace: If there is any town this world would be better without this is it.”

   

     1. 12 Angry Men - este un film ce se bazează pe dialog în totalitate, și este atât de genial conceput. Este greu să aleg cel mai bun dialog din film pentru că filmul în sine este o întreagă discuție. 12 Angry Men, unul dintre cele mai bune filme realizate vreodată, este dovada clară că un scenariu bun, inteligent nu poate să se concretizeze decât într-un film excepțional, fiind de asemenea și un exemplu despre puterea dialogului bine scris.

     „Juror #8: There's something else I'd like to talk about for a minute. I think we've proved that the old man couldn't have heard the boy say "I'm gonna kill you," but supposing...

Juror #10: You didn't prove it at all. What're you talking about?
Juror #8: But supposing he really did hear it. This phrase, how many times have all of us used it? Probably thousands. "I could kill you for that, darling." "Junior, you do that once more and I'm gonna kill you." "Get in there, Rocky, and kill him!" We say it every day. That doesn't mean we're going to kill anyone.
Juror #3: Wait a minute. What are you trying to give us here? The phrase was "I'm gonna kill you." The kid yelled it at the top of his lungs! Don't tell me he didn't mean it. Anybody says a thing like that the way he said it, they mean it.