I loved Certified Copy when I saw it back in 2010 or so (it has been a while)! This was so fun to read and think about again—I really want to go back to it now. I think it also worth pointing out that William Shimell is an opera singer, so the way that he translated (copied?) his particular set of theatrical skills to film was pretty darn compelling. And putting an opera singer against Juliette Binoche! Kinda brilliant as a casting choice.
I also remember feeling the deep anxiety you mention and would point to Before Sunrise/Before Sunset as similar experiences. There is something so romantic about the urgency and intensity of the long-and-yet-limited encounter in all of those films! Thanks for the thoughts, as always.
Another aspect of "translation" that I didn't really explore here is the slips between English, French and Italian, all while being directed by an director from Iran! Benjamin also wrote the task of translation and the frustration/impossibility of it.
But I also know that opera singers in particular, who so often perform in a language other than their own, are extreme translators of language. Even if they are not fluent in Italian/German, they have to have enough knowledge to express themselves, at a high level, in a way that someone who maybe even is fluent absolutely could not do.
The way language works in the film is that we don't really see either character stumble over their language barriers. James "can't" speak Italian, but he does frequently speak casual Italian, enough to get around, and he and Elle slip between English and French. Of course, as a native English speaker, with okay French and Italian listening, skills, I am certainly missing aspects of their language. Though one things I noticed is that they immediately use the "tu" form with each other, even before they fully transition to the "marriage/romance" half of the story, possibly hinting at the full breath of the relationship and intimacy earlier to French speakers in the audience!
I loved Certified Copy when I saw it back in 2010 or so (it has been a while)! This was so fun to read and think about again—I really want to go back to it now. I think it also worth pointing out that William Shimell is an opera singer, so the way that he translated (copied?) his particular set of theatrical skills to film was pretty darn compelling. And putting an opera singer against Juliette Binoche! Kinda brilliant as a casting choice.
I also remember feeling the deep anxiety you mention and would point to Before Sunrise/Before Sunset as similar experiences. There is something so romantic about the urgency and intensity of the long-and-yet-limited encounter in all of those films! Thanks for the thoughts, as always.
Another aspect of "translation" that I didn't really explore here is the slips between English, French and Italian, all while being directed by an director from Iran! Benjamin also wrote the task of translation and the frustration/impossibility of it.
But I also know that opera singers in particular, who so often perform in a language other than their own, are extreme translators of language. Even if they are not fluent in Italian/German, they have to have enough knowledge to express themselves, at a high level, in a way that someone who maybe even is fluent absolutely could not do.
The way language works in the film is that we don't really see either character stumble over their language barriers. James "can't" speak Italian, but he does frequently speak casual Italian, enough to get around, and he and Elle slip between English and French. Of course, as a native English speaker, with okay French and Italian listening, skills, I am certainly missing aspects of their language. Though one things I noticed is that they immediately use the "tu" form with each other, even before they fully transition to the "marriage/romance" half of the story, possibly hinting at the full breath of the relationship and intimacy earlier to French speakers in the audience!
Thank you for your thoughts!!