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Filming again in his two favorite cities, Venice and London, Brass created this goofball comedy about a girl who, try as she might, has an impossible time of staying faithful to her boyfriend. I was on the floor laughing. I was so impressed that I invited some friends over, and they were all on the floor laughing. This film transcends silliness, and transforms bad dialogue, bad storytelling, and bad acting into a brilliant hour and a half of belly-laugh comedy. Don’t miss this!
NON-WARNING: The English dub is actually funnier than the Italian original, as the dialogue was rewritten to be even more preposterously campy.
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CURIOSITIES: The lead rôle, played by Yuliya Mayarchuk, is named Carla, obviously after Brass’s wife, who co-authored the screenplay. The working title was simply T, which was to stand for both Tradire (To Cheat) and Trasgredire (To Disobey). The double-entendre release title is better.
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CLIPS FROM THE WORK PRINT (WITH THE ORIGINAL SCRATCH TRACK): http://equis.ya.com/tintobrassvid/yuliya_mayarchuk/
VISUALS: http://www.lionpictures.it/trasgredire/1.htm
BRASS’S EXPLANATION: http://www.tintobrass.to/ita/yuliya.html
BRASS AND MAYARCHUK INTERVIEWED: http://www.tintobrass.com/interviste.htm
MAYARCHUK INTERVIEWED: http://www.geocities.com/Paris/Cinema/8154/YuliaMayarchuk.html
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| The Italian Region-2 PAL DVD, which will not play on most US equipment. Option for the English-dubbed soundtrack. Nice little behind-the-scenes featurette in the supplements. | The US Region-0 NTSC DVD. Both the cut and uncut versions are available, so be careful to order the uncut version! |
| Preview on the Italian DVD | Actual Film Transfer on the Italian DVD | The Shortened “Producer’s Cut” from Cult Epics |
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| Above left: This is the correct crop for showing this particular movie at a cinema... |
Above center: ...and this isn’t. |
Above right: Close, very close. |
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| Above: The video transfers for both the preview and the movie proper were reformatted in this shot! | ||
And the end credits actually instruct the projectionist on the correct crop: 
I wish all movies contained such on-screen instructions, which I think should be right up at the front, when the movie begins. Alas, I know of only four movies that have any on-screen instructions: All are in the end credits, and all four just happened to have been made by Tinto Brass. | ||
And now, with the above in mind,
maybe you can understand why I get really very extremely horribly maniacally irritated
when a scene plays like this?
Here are the same two frames in the shortened Cult Epics “Producer’s Cut”:
Fragments of two photos on the wall. Interesting, yes? Let’s pan over and get a better look at the one on the left.
Looks like Ernest Hemingway, doesn’t it? Is this from the Cipriani family archive?
Now whose archive did this one come from?
Ever wonder what was on those negs? Well, here you go!
Let’s take a closer look:
| Direttore della fotografia(director of photography) | Massimo di Venanzo |
| Musiche (music) | Pino Donaggio |
| Dirette da (directed by) | Andrea Bandel |
| CAM Digital ________ | |
| Scenografia (art direction) | Carlo de Marino |
| Arredamento (set décor) | Maricia d’Alfonso |
| Costumi (costumes) | Cesare Tanoni, Stefano Giovani |
| Soggetto (original story) | Tinto Brass |
| Sceneggiatura (screenplay) | Tinto Brass, Carla Cipriani, Nicolaj Pennestri, Silvia Rossi, Massimiliano Zanin |
| Aiuti registi (assistant directors) | Carla Cipriani, Isabel Vitturi |
| Collaborazione al montaggio (assistant editor) | Fiorenza Mueller |
| Edizione - postproduzione(continuity - postproduction) | Carla Cipriani |
| Assistente operatore(assistant camera operator) | Andrea Doria |
| Capo elettricista (gaffer) | Sergio Spila |
| Capo macchinista (key grip) | Pietro Santarelli |
| Fotografo di scena (still photographer) | Gianfranco Salis |
| Promozione (promotion) | Saverio Ferragina |
| Direttore di produzione (production manager) | Mauro Sangiorgi |
| Organizzatore generale (general manager) | Alberto Passone |
| Un produzione realizzata da (produced by) | Massimo Ferrero |
| Un film prodotto da (a production of) | Pino Gargiulo per la C.R.C. |
| Diretto e montato da(directed and edited by) | Tinto Brass |
| Si ringraziano (we thank) | Toni Leone Madame X Emanuela Quaglia Marco Maiello Maurizio Prudenzi Antonio Tentori Luciana Giusti Alessandra Costa Filly Mitch Laura Licari Valentina Arpaia Stella Sarcinella Stefania Corradetti Antonella Re Silvia Archiapatti Locanda Cipriani - Torcello |
| Parucchiera (hairdresser) | Irene Carufo |
| Truccatrice (make-up artist) | Carla Catanzaro |
| Assistente operatore(assistant camera operator) | Antonello Emidi |
| Attrezzista (prop master) | Remo Pizzaroni |
| Location | Edmondo Amati, Roberto Trillò, Umberto Zampini, Giorgio Padoan |
| Segretari di produzione (production secretaries) | Simone Onorati, Eleonora Rossi, Michela Ferrero |
| Percussioni e computer | Paolo Steffan |
| Fonico (sound) | Gilberto Martinelli |
| Microfonista (boom operator) | Diego de Santis |
| Assistente scenografo (assistant art director) | Natacha Claudine Tanzilli |
| Sarta (tailor) | Anna Fontana |
| Aiuto montaggio (assistant editor) | Roberta Barracco |
| Macchinisti (grips) | Marco Verginelli, Gaetano Pizzi |
| Elettricisti (best boys) | Marcello Cardarelli, Roberto Ridolfi |
| Gruppista (generator operator) | Alfredo Iannone |
| Pittore di scena (scene painter) | Antonio Tedesco |
| Cassiere (paymaster) | Otto Buffa |
| Amministratori (production accountants) | Laura Pasquarelli, Alessandra Bianconi |
| Teatri di posa, sviluppo e stampa, macchine da presa, Mezzi tecnici (studio, lab, cameras, technical equipment) | Cinecittà |
| Tecnici del colore (color technicians) | Paasquale Cuzzupoli, Stefano Giovannini, Gianni Cerniglia |
| Mascherino (required projector mask) | 1: 1,66 |
| Pellicola negativa (negative stock) | Kodak Color |
| Postsincronizzazione (sound recording) | Fono Roma |
| Missaggio (mixer) | Alberto Doni |
| Tecnico di doppiaggio (ADR technician) | Stefano Nissolino |
| Segretario di doppiaggio (dubbing secretary) | Edoardo Cannata |
| Effetti sonori (sound effects) | Cineaudio Effects |
| Effetti speciali (special effects) | Franco Sabelli |
| Titoli e truke (titles and opticals) | Studio 4 |
| Costruttore | Roberto Laurenzi |
| Laboratorio fotografico (still-photo lab) | Cavalieri snc |
| Lampade e gelatine (lights and filters) | Petracca |
| Assicurazione (insurance) | Chub |
| Arredamento (set décor) | Maricia d’Alfonso, Cine 800, La Teca dell’Immaginario, Arredamenti Cineteatrali GRP, Foto Roma |
| Tappezziere (upholsterer) | Artigiana Arredatori e Tappezzieri |
| Costumi (costumes) | Sartoria Cineteatrale Nori Enzo |
| Parrucche (wigs) | Rocchetti & Rocchetti |
| Trasporti (transport) | Romana Trasporti |
| Spedizioni | Air Transport |
| Cestini (catering) | Da “Gigi” |
| Esterni (exteriors) | Venezia - Londra |
| Si ringraziano inoltre (we also thank) | Paolo Barovier Vinnaioli Jermann Maison Louis Roederer Nino Franco Sagna spa Instax Fuji Film Artemide spa Fontana Arte spa Rubinetterie Cristina spa Tulli Zaccari Inda Industria Nazionale Accessori spa Emu Group Siarco Laufen Duravit Matteo Grassi Valli & Valli spa |
| Dolby Digital in teatri selezionati |
| PERSONAGGI E INTERPRETI | |
| Carla Borin | Yuliya Mayarchuk |
| Matteo | Jarno Berardi |
| Moira | Francesca Nunzi |
| Marion | Max Parodi |
| Bernard | Mauro Lorenz |
| Nina | Leila Carli |
| Luca | Vittorio Attene |
| Sig. Borin | Antonio Salines |
| ??? | Chiara Gobbato |
| ??? | Remo Pizzaroni |
| ??? | Mauro Sangiorgi |
| ??? | Alberto Passone |
| Voyeur at the beach | Osiride Pevarello [uncredited] |
| Proprietor of Photo Venice | Tinto Brass [uncredited] |