MASARYK UNIVERSITY
FACULTY OF EDUCATION
Department of English Language and Literature
The Film Bohemian Rhapsody:
Translation and Analysis
Bachelor Thesis
Brno 2020
Supervisor: Mgr. Martin Němec, Ph.D. Author: Jana Minářová
Prohlášení
Prohlašuji, že jsem závěrečnou bakalářskou práci vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.
Declaration
I hereby declare that I worked on the bachelor thesis independently, utilizing sources included in the bibliography.
Brno, April 20, 2020 ………………………….
Jana Minářová
Acknowledgments
I would like to thank my supervisor, Mgr. Martin Němec, Ph.D., for his professional guidance of my bachelor thesis.
Abstract
The bachelor thesis, “The Film Bohemian Rhapsody: Translation and Analysis”, deals with the translation and analysis of the film, “Bohemian Rhapsody,” based on the life story of the British rock band, Queen. The thesis comprises three main parts: The Film Bohemian Rhapsody, Theoretical Part, and Practical Part. The transcript of the film is compared with the author’s personal translation and with the official translation provided by Petr Fantys. Selected parts of these texts concerning the theory of translation are examined in the practical part, in the analysis of the translation.
Keywords
Bohemian Rhapsody, film, transcript, rock, Queen, Freddie Mercury, translation, analysis, equivalence
Anotace
Bakalářská práce, Film Bohemian Rhapsody: překlad a analýza, se zabývá překladem a analýzou filmu Bohemian Rhapsody, jež byl natočen na základě příběhu britské rokové kapely, Queen. Tato práce obsahuje tři hlavní části: film Bohemian Rhapsody, teoretická část a praktická část. Přepis filmu je srovnán s osobním překladem autorky a následně s oficiálním překladem Petra Fantyse. Vybrané části zmíněných textů jsou rozebrány z hlediska teorie v praktické části, v analýze překladu.
Klíčová slova
Bohemian Rhapsody, film, přepis, rock, Queen, Freddie Mercury, překlad, analýza, ekvivalence
Table of Contents
1. Introduction ...... 7
2. The Film Bohemian Rhapsody ...... 9
2.1. Film Formation ...... 9
2.2. Historical and Cultural Context ...... 10
2.2.1. Rock ...... 13
2.2.2. Queen ...... 13
2.3. Screenwriter, Anthony McCarten ...... 17
2.4. Translator, Petr Fantys...... 18
3. Theoretical Part ...... 19
3.1. Translation ...... 19
3.2. Translator ...... 19
3.3. Process of Translation ...... 20
3.4. Equivalence ...... 21
3.4.1. Lexical Equivalence ...... 21
3.5. Potential Problems ...... 22
3.6. Product of Translation ...... 22
4. Practical Part ...... 23
4.1. Personal Translation of the Transcript...... 23
4.2. Analysis of the Translation ...... 115
5. Conclusion ...... 139
6. Bibliography ...... 141
1. Introduction
The bachelor thesis, “The Film Bohemian Rhapsody: Translation and Analysis”, deals with the translation and analysis of the film, “Bohemian Rhapsody,” based on the life story of the British rock band “Queen” performing in original formation in the 1970s and 1980s. The story is set in the period from 1970 when the band was formed to 1985, where the film ends by the last scene at the charitable concert, “Live Aid”. The thesis comprises three main parts titled “The Film Bohemian Rhapsody”, “Theoretical Part”, and “Practical Part.”
The part “The Film Bohemian Rhapsody” introduces film formation, historical and cultural context with a focus on the rock band, furthermore, the screenwriter, and the Czech translator. Thus, it is vital to be familiar with the background of the film and primarily with the historical and cultural context of the film to understand the story and the characters.
The theoretical part deals with the concept of translation, i.e., translation as a process, translation as a product, translator, equivalence, and potential problems that can occur. Being familiar with the theoretical part of translation helps to understand the analysis primarily dealing with the potential difficulties and the differentnesses in the languages and translations either.
The practical part includes personal translation and the analysis of the translation. I translate the transcript of the film with consideration of the author’s intention; moreover, the analysis pertains to three texts: transcript, my translation and the original translation provided by Petr Fantys.
Regarding the sources, the theoretical part, and analysis, derives primarily from the books of following authors: Jiří Levý, Peter Newmark, Roger T. Bell, and Dagmar Knittlová whereas the part titled “The Film Bohemian Rhapsody” from interviews with the current members of the band Queen, producer, and screenwriter; from the books, e.g., “Queen In 3-D,” written by the guitarist Brian May and the official book of the film.
The primary goal is to translate the transcript of the film, preserving the author’s intention and the naturalness of the source language in the target language,
7 out of consideration for Czech audience. Another goal is to introduce the rock band “Queen”, not only as the famous rockstars but also as human beings. Furthermore, last but not least, to compare my personal translation with the transcript and subsequently with the official translation credited to the Czech translator, Petr Fantys.
My personal goal is to educate myself in the area of translation from both practical and theoretical aspects.
I would like to introduce the reasons why I opted for translating and analyzing the transcript of the film, Bohemian Rhapsody. Having considered potential topics for my bachelor thesis, I was sure to work with translation somehow. Nevertheless, I did not know what kind of translation I would occupy myself with, whether a translation of a book or a film.
Having watched the film Bohemian Rhapsody, I did not need to seek the theme for my bachelor thesis anymore. I was so enthralled by the film depicting such a fascinating story of Queen and especially Freddie Mercury, his enduring passion for music and incredible life story.
As I was amazed not only by the film but also by Queen that belongs to my favorite bands, I decided to engage my thesis on this topic.
8
2. The Film Bohemian Rhapsody
Bohemian Rhapsody, an Oscar-winning film from the year 2018 directed by Brian Singer and Dexter Fletcher under the patronage of 20th Century Studios, is a biographical film based on the life story of one of the greatest bands of all time, Queen.1
“Bohemian Rhapsody is an enthralling celebration of Queen, their music, and their extraordinary lead singer Freddie Mercury, who defied stereotypes and convention to become one of history’s most beloved entertainers. Following Queen’s meteoric rise, their revolutionary sound and Freddie’s solo career, the film also chronicles the band’s reunion, and one of the greatest performances in rock history.”2
2.1. Film Formation
As for the process of creating the film, the cast was not only British (as it could be expected concerning the nationality of the characters), but also American. The main character, Freddie Mercury, was portrayed by Rami Malek. The other members of the band, Brian May portrayed by Gwilym Lee, Roger Taylor by Ben Hardy, and John Deacon by Joseph Mazzello. Another essential character of the movie is Mary Austin, designated as a love of Freddie’s life played by Lucy Boynton.3
Having lasted eight years, the process of formating the film was a long- distance run. The process began in 2010 when Peter Morgan came with the idea of filming Queen’s story. Peter Morgan approached Graham King, a producer of Oscar- winning films who the process commenced. King presented this idea to two active members of Queen, the guitarist Brian May and the drummer Roger Taylor.4
1 Bohemian Rhapsody. Retrieved from https://www.20thcenturystudios.com/movies/bohemian- rhapsody 2 Bohemian Rhapsody. Retrieved from https://www.20thcenturystudios.com/movies/bohemian- rhapsody 3 Bohemian Rhapsody. Retrieved from https://www.20thcenturystudios.com/movies/bohemian- rhapsody 4 May, 2018, p. 6, 12 9
Having been offered to cooperate on forming the film, May and Taylor were doubtful about it, initially. However, subsequently, they agreed on collanorating on this film to maintain “the authenticity and legacy” of Freddie Mercury.5 Creating the story, participated not only May and Taylor but also their long-term lawyer and friend, Jim Beach, and the producer Graham King with screenwriters Peter Morgan and Anthony McCarten.6
May states that the aim was not to make a documentary yet an art. “I’m thrilled with the way our Freddie film is shaping up. Much more than a documentary of someone’s life, it’s a piece of pure art, chiseled out of solid rock.”7 The film was to depict Freddie Mercury as a human being and mainly as a great talented musician as he was. “It had to be truthful, it had to be not too indulgent, and it had to be watchable, and I think Freddie would say number one it had to be entertaining.”8
2.2. Historical and Cultural Context
This part deals with historical and cultural context on which is the movie based. Although the film is set in the 19070s and half of the 1980s, the period of the 1960s is discussed, either; since it is vital to get acquainted with the circumstances that influenced the following decades. Stress is laid on the society of that time.
The 1960s was a decade of welfare and changes in British society. This period was known as “the Swinging Sixties” as well. A vast number of British population owned various appliances, e.g., washing machines, refrigerators, and could afford to travel abroad for vacation.9 Nonetheless, the period of the 1970s and 19080s was so-called the age of “stagflation” for the economic stagnation, price and wage inflation, and massive unemployment.10 These almost three decades are not only defined as the time of changes, progress, and stagnation; however, as the time of immigration and adapting to British society, as well.
5 Bohemian Rhpasody Brian May & Roger Taylor Behind The Scenes Interview. Retrieved from https://www.youtube.com/watch?v=Dyg012-nOGA 6 May, 2018, p. 6, 12 7 Bohemian Rhapsody - The Movie. Retrieved from http://www.queenonline.com/features/bohemian- rhapsody-the-movie 8 Bohemian Rhpasody Brian May & Roger Taylor Behind The Scenes Interview. Retrieved from https://www.youtube.com/watch?v=Dyg012-nOGA 9 An Introduction to 20th-century England. Retrieved from https://www.english- heritage.org.uk/learn/story-of-england/20th-century/ 10 Arnstein, 1983, p. 381 10
By the 1960s and 1970s, colonies were gaining independence, and the amount of the members of the Commonwealth increased noticeably.11 Citizens of Commonwealth were legally allowed to inhabit the UK.12 Thus, a noticeable number of these people immigrated to the UK, predominantly from the Caribbean, West Indies, India, Pakistan, and West Africa. Because of the massive inflow of immigrants, Britain tightened immigration rules.13 Due to the significant increase of immigrants, a wave of racism rose. The question was how to adapt immigrants into conservative British society.14
The percentage of immigrants in the total population of the UK was inconsiderable, about four percent; however, they lived in communities in larger cities. Growing up in the UK, the second generation of immigrants was influenced by British culture, which mainly adopted British popular music and fashion. Nonetheless, the youth generation was influenced by family and community culture.15
Not only young immigrants were influenced by British culture, but it was also preferably two-way. Growing up in multi-ethnic society, young British by the culture of minorities either.16 Furthermore, the youth generation was associated with the motto, “Sex, Drugs and Rock’ ‘n’ Roll,” living wilder style of life than previous generations.17 Since 1961, the consumption of alcohol increased about 30 percent; this period was also known for the abuse of recreational drugs; in addition, many subcultures were defined by specific music, hairstyles, and clothes.18
In the 1980s, Britain tried to follow the American style of living, and therefore British culture was described as “consumer”. Young British were genuinely interested in music, inspired, e.g., by the Afro-American subculture.19
11 Lloyd, 1996, p. 347-348 12 History offers Britain an important lesson on shutting down immigration. Retrieved from https://theconversation.com/history-offers-britain-an-important-lesson-on-shutting-down- immigration-65840 13 Britain in the 1960s and 1970s: ESOL Nexus. Retrieved from https://esol.britishcouncil.org/content/learners/uk-life/life-uk-test/britain-1960s-and-1970s 14 Arnstein, 1983, p. 381 15 Childs, Storry, 1997, p. 16 16 Childs, Storry, 1997, p. 172 17 Childs, Storry, 1997, p. 184 18 Childs, Storry, 1997, p. 187-188 19 Childs, Storry, 1997, p. 169-170 11
The main centers of flourishing culture and mainly popular music were big cities, especially London, the capital of “entertainment, hope, and desire”.20 Various subcultures were in existence in London. The gay community subculture was spreading. They were famous for their shops, night clubs, and nightlife.21
Due to the culture of young people, “swinging London” and legislating abortion, birth control, divorce reform, and homosexuality, there was a move to “permissiveness” in existence. 22
Having had more opportunities than before, women did not have to observe the traditional role. They could divorce, undergo an abortion, carry out more types of occupation; some of them emerged in politics. Furthermore, equal salary with men and was attained, and discrimination was illegal since the 1960s gay people could get into registered partnerships.23
Later, in the 1970s and even in the 1980s the British society reacted to “permissiveness” in a disparaging way. The “permissiveness” was considered to break the traditional family values that concern single mothers, rising divorces; moreover, the gay community was blamed for the spread of HIV. At the beginning of this AIDS crisis, the society found homosexuality perverse; thus, they believed that this virus was exclusively a gay issue. For this situation, British society was ceasing to accept the gay community and started being homophobic.24
20 The 1960s, The Decade that Shook Britain. Retrieved from https://www.historic- uk.com/CultureUK/The-1960s-The-Decade-that-Shook-Britain/ 21 Childs, Storry, 1997, p. 152 22 Childs, Storry, 1997, p. 149 23 Childs, Storry, 1997, p. 149 24 Childs, Storry, 1997, p. 149-150 12
2.2.1. Rock
Rock belongs to the Popular music that provides various styles of music, e.g., R&B, Disco, Funk, Soul, and rock.25 The predecessor of rock music that emerged in the 1960s, primarily in the UK and the USA, was rock and roll from the 1950s.26
Rock is a subgenre of popular music mostly related to youth culture.27 With mainstream rock, subgenres as “pop-rock,” “progressive rock,” “soft rock,” “glam rock,” “blues-rock” emerged, furthermore, punk and heavy metal are sometimes related to rock as well.28
The musicians of the 1970s were inspired by their predecessor from the previous decade, e.g., the Beatles, Rolling Stones, Jimi Hendrix, or Bob Dylan. The legends of the rock music, which began in the 1970s, were, e.g., David Bowie, Pink Floyd, Led Zeppelin, Elton John.29
2.2.2. Queen
Queen established in 1970 is a British rock band whose members were a lead singer Freddie Mercury, a guitarist Brian May, a drummer Roger Taylor, and a bassist John Deacon.30 After Mercury died in 1991, Deacon retired from a music career later in 1997.31 May and Taylor continue collaborating with other musicians up to now.32
Queen produced rock songs with elements of other genres, e.g., opera, jazz, blues, or disco. Thus, it is challenging to define their style of music unequivocally;
25 Music Played in the 1960's Popular Music From the 60s. Retrieved from http://www.thepeoplehistory.com/60smusic.html Music Played in the 1970's Popular Music From the 70s. Retrieved from http://www.thepeoplehistory.com/70smusic.html 26 Starr, Waterman, 2007, p. 296 27 Rock. Retrieved from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000049135?rskey=coQG40&result=4 28 Rock. Retrieved from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-1002257208?rskey=coQG40&result=5 29 Starr, Waterman, 2007, p. 329-332 30Queen. Retrieved from https://history-biography.com/history-of-queen/ 31 Jones, 2018, p. 339-340 32 About Queen. Retrieved from http://www.queenonline.com/queen 13 however, progressive rock that emerged in the 1970s is the most resembling as it is typical of combining various genres.33
Before Queen was established, there was a predecessor in existence, a band, Smile, whose members were Brian May, Roger Taylor, and Tim Staffel.34 Being friends with members of the band, Mercury took up the position of the lead singer after Staffel abandoned “Smile” and “Queen” was founded.35 In 1971, the band was entirely formed when John Deacon joined the band.36
In 1973, the first album called Queen was released. Following years, the band released many albums, e.g., “Queen II,” “Sheer Heart Attack,” “Hot Space,” “The Works,” “A Night At The Opera.” This album started the genuine Queen’s “rock star” career for the single, “Bohemian Rhapsody.” Among the most successful hits belongs “We Will Rock You,” “We Are The Champions,” “Bicycle Race,” “Another One Bites The Dust,” “Radio Ga Ga,” “I Want To Break Free.”37
Queen with other musicians participated in Live Aid that took place on July 13, 1985, in London at Wembley Stadium and simultaneously in Philadelphia in the USA. It was a charitable concert against the famine in Ethiopia.38
Freddie Mercury
Farrokh Bulsara, known as Freddie Mercury, was born in Zanzibar (today’s Tanzania) on September 5, 1946, and died on pneumonia caused by AIDS in London on November 24, 1991.39
The Bulsaras family was Indian Parsis originating from the Gujarat Region of Mumbai. Mercury, with his sister, was raised in the Zoroastrian faith by their parents, Bomi and Jer. Before Freddie was born, his parents moved to Zanzibar for Bomi’s job in the British colonial office.40
33 Music Played in the 1970's Popular Music From the 70s. Retrieved from http://www.thepeoplehistory.com/70smusic.html 34 Jones, 2018, p. 64-66, 35 Jones, 2018, p. 76 36 Jones, 2018, p. 86-87 37 About Queen. Retrieved from http://www.queenonline.com/queen 38 Jones, 2011, p. 16 39 Williams, 2018, p. 24-25 40 Williams, 2018, p. 24 14
At the age of eight, Freddie was sent to Saint Peter’s boarding school in India, where he additionally learned to play the piano, attended choir; moreover, he was also talented in arts and sports. Freddies’s first band was called the Hectics.41
In 1964, Bulsaras escaped to the UK for Zanzibar Revolution. In London, Freddie studied graphic design at Ealing College of Art and worked at Heathrow Airport.42 During his studies, Freddie joined a band called Wreckage. Later on, he was introduced to Brian May and Roger Taylor by Tim Staffel.43
After establishing Queen with other members, Freddie Bulsara became Freddie Mercury, the rock legend he who he was.44
On top of that, in the 1980s, Mercury also started his solo career that produced an album “Mr. Bad Guy” and the song “The Great Pretender.”45
Brian May
Brian May, an only child, was born in Twickenham, England, on July 19, 1947.46 At the age of six, he started playing an acoustic guitar. Together with his father, Brian made an electronic guitar named “The Red Special” that accompanied him on tours around the world in the later years.47 May was passionate about music, astronomy, and photographing with the 3-D stereoscopic camera.48
He studied Physics at the BSc level and Astronomy for the doctorate at Imperial College in London.49 During his studies, May joined a band called “1984”. Having quit his current band, May with his friend Tim Staffel formed the band, Smile.50 When Staffel left the band,51 and Queen was formed, May decided to suspend
41 Jones, 2011, p. 42-48 42 Jones, 2011, p. 56 43 Freddie Mercury. Retrieved from http://www.queenonline.com/freddie_mercury 44 Freddie Mercury. Retrieved from http://www.queenonline.com/freddie_mercury 45 Williams, 2018, p. 25 46 Brian May. Retrieved from http://www.queenonline.com/brian_may 47 Jones, 2018, p. 64 48 May, 2017, p. 10 49 May, 2017, p. 9 50 Jones, 2018, p. 64-65, 76 51 Jones, 2018, p. 76
15 his doctoral studies to devote the band entirely. In 2007, May accomplished postgraduate studies.52
May is credited for many Queen’s singles, e.g., “We Will Rock You,” “Hammer To Fall,” “Fat Bottomed Girls,” ‘I Want It All,’ “Who Wants to Live Forever.”53
Roger Taylor
Roger Taylor was born in King’s Lynn, Norfolk, England, on July 26, 1949.54 Since childhood, Taylor was passionate about music. His first instrument to play was the ukulele, which he played in his first band at primary school. Taylor learned to play the guitar; however, he swapped it for drums.55 He was a drummer and subsequently a lead singer in a band called the Reaction.56
At the London Hospital Medical College, Taylor studied dentistry and subsequently changed for biology at East London Polytechnic.57 Taylor joined Smile58 that afterward turned into Queen when Freddie Mercury replaced Staffel.59
Singles, “Radio Ga Ga,” “A Kind Of Magic,” “These Are The Days Of Our Lives,” “I’m In Love With My Car” are credited to Roger Taylor, among others.60
Taylor was the first one who started a solo career, and the same year released a hit “I Wanna Testify.” During his solo career, he composed other albums, e.g., “Fun In Space,” “Strange Frontier.”61
52 Williams, 2018, p. 24 53 Brian May. Retrieved from http://www.queenonline.com/brian_may 54 Roger Taylor. Retrieved from http://www.queenonline.com/roger_taylor 55 Williams, 2018, p. 48 56 Jones, 2018, p. 65 57 Williams, 2018, p. 48 58 Jones, 2018, p. 65-66 59 Jones, 2018, p. 76 60 Roger Taylor. Retrieved from http://www.queenonline.com/roger_taylor 61 Roger Taylor. Retrieved from http://www.queenonline.com/roger_taylor 16
John Deacon
John Deacon was born in Leicester, England, on August 19, 1951. The first instrument he played was an acoustic guitar. At the age of fourteen, he performed in his first band, The Opposition as a guitarist, and subsequently as a bass player.62
Deacon’s two passions were music and electronics. However, he abandoned the band to study electronics at Chelsea College, University of London. In 1970, Deacon attended a concert of a new band, Queen. A year later, he was auditioning for the bass player. Queen could not find the right person until John came. 1971 is the year when the band was finally complete.63
In 1974, Deacon wrote a first song, “Misfire,” from an album “Sheer Heart Attack.” Among his other hits belong “, You’re My Best Friend,” “Spread Your Wings,” “I Want To Break Free,” and the world-wide hit “Another One Bites The Dust.”64
2.3. Screenwriter, Anthony McCarten
Anthony McCarten, a screenwriter, and producer originating from New Zealand, wrote the screenplay to the film, Bohemian Rhapsody. Some of McCarten’s screenplays, e.g., The Theory of Everything, Darkest hour, were nominated for The Best Picture Oscar and, at the same time, won the Oscar for Best Actor.65
In collaboration with a screenwriter, Peter Morgan, McCartney created the story of a future film. Morgan was among the first writers who wrote drafts of the movie and whose idea was to end the film with Live Aid. Before writing the screenplay, McCartney interviewed the members of Queen, Brian May, and Roger Taylor. Having spent some time with Queen, McCartney was ready to write the screenplay.66 McCartney says, “They told me their story, and all the ingredients were
62 John Deacon. Retrieved from http://www.queenonline.com/john_deacon 63 John Deacon. Retrieved from http://www.queenonline.com/john_deacon 64 Williams, 2018, p. 40 65 Anthony McCarten. Retrieved from https://www.imdb.com/name/nm0565026/bio 66 How Kiwi Anthony McCarten wrote the Queen movie Bohemian Rhapsody. Retrieved from https://www.noted.co.nz/culture/culture-movies/bohemian-rhapsody-kiwi-anthony-mccarten-wrote- queen-movie 17 there literally diamonds on the ground that I just had to pick up.”67 The screenplay is based on the recounting of May and Taylor rather than biographies from other authors.68
2.4. Translator, Petr Fantys
A Czech translator, Petr Fantys, created the official Czech subtitles to the film. Not only a translator, but Fantys is also is a reviewer and pedagogue. Concerning his translating career, Fantys specializes in literary output, technical literature, and subtitling, indeed.69 Fantys is credited for the subtitles to the films as “Piráti z Karibiku” or” New York, New York.” In 2009, he won Josef Jungmann award for his translation, “Žádný důvod k obavám.”70
67 Bohemian Rhapsody World Premiere Anthony McCarten. Retrieved from https://www.youtube.com/watch?v=Og8X6k79P4A 68 How Kiwi Anthony McCarten wrote the Queen movie Bohemian Rhapsody. Retrieved from https://www.noted.co.nz/culture/culture-movies/bohemian-rhapsody-kiwi-anthony-mccarten-wrote- queen-movie 69 Petr Fantys. Retrieved from https://www.databaze-prekladu.cz/prekladatel/_000005716 70 Petr Fantys. Retrieved from https://peoplepill.com/people/petr-fantys/ 18
3. Theoretical Part
This part deals with a theoretical constituent of translation, i.e., primarily the process of translation, the product of translation, translator equivalence, and potential problems examined in the consequent analysis.
3.1 . Translation
The phenomenon, translation can be assessed from various points of view. The definition says that a translation is “an act, process, or instance of translating such as rendering from one language into another” furthermore “the product of such as rendering” (Merriam-Webster, “translation”).
Reaching the final product of translation precedes a challenging process of translation. Newmark compares translating to the iceberg theory. He states, “You can compare the translating activity to an iceberg: the tip is translation – what is visible, what is written on the page – the iceberg, the activity, is all the work you do, often ten times as much again, much of which you do not even use” (1988, p. 12).
Moreover, Bell suggests a third “abstract” type of translation that comprises both types of mentioned translations, i.e., a translation as a product and translation as a process (Bell, 1991, p. 13).
3.2. Translator
Before discussing the process and product of translation and their related utterances, I would like to occupy myself with defining translator and appropriate competence to be capable of managing the translation as a whole.
“The translator has been defined as a ‘bilingual mediating agent between monolingual communication participants in two different language communities’, i.e., the translator decodes messages transmitted in one language and re-encodes them in another” (Bell, 1991, p. 15).
Translator’s task is to decode the problematic expressions differing in the source and target language and create the most authentic possible equivalence (Levý,
19
1998, p. 23) Furthermore, the intention of the source text should be maintained in the target text out of consideration for the target group of audience (Newmark, 1988, p. 12-13).
Regarding the author’s competence, Levý states that the translator should be knowledgeable in the source language, target language, and cultural and historical context of the source text; furthermore, the ability of imagination is essential (1998, p. 17, 56). Moreover, Newmark states that a translator should have a “feeling” for language to recognize from the context, whether to translate freely or literally (1988, p. 4).
Not always, the “feeling” guarantees fulfilling every reader’s expectation. According to Bell, the translator applying literal translation is lambasted for not maintaining a faithfulness; on the other hand, when applying free translation, then the translator is accused of vagueness (1991, p.7).
Not only the reader’s but also the translator’s expectations are not always fulfilled. According to Newmark, a perfect translation does not exist. A good translator is never satisfied with a final translation (1988, p.6).
3.3. Process of Translation
Newmark defines the process of translation as transferring the information from the source language into the target language (Newmark, 1988, p. 5).
Levý suggests three phases of the mentioned process: “source text comprehension, source text interpretation, and source text restyling”71 (1998, p. 53). The process of translating begins with reading. Every translator should be well acquainted with the source text in order to be able to comprehend the author’s intention and style. The first phase is essential for succeeding in the second phase, i.e., interpretation. When interpreting, the source language is transferred into the target language with regard to preserving the message from the source text. The third phase deals with achieving the style of the source text. Observing these phases leads to a successful translation (1998, p. 53-68).
71 Translated by Jana Minářová
20
As for methods applied in the process of translation, Newmark defines six types of these methods (“word-for-word, literal, faithful, semantic, free, idiomatic, communicative translation, and adaptation”) of which the “word-for-word method” is the most accurate and “adaptation” is considered as the freest (1988, p. 45-46). Moreover, Knittlová suggests seven types of methods that create equivalence between the source and target language. These methods comprise “transcription, calque, substitution, transposition, modulation, equivalence, adaptation.”72
3.4. Equivalence
The “result” of the process of translation should be attaining the equivalence in the source and target text (Newmark, 1988, p. 48).
There are more types of equivalence in existence. Bell classifies equivalence according to “the degree (full, partial equivalence), levels of presentation (e.g. context, semantic, grammar, lexis equivalence) and ranks (word-for-word, phrase-for-phrase, sentence-for-sentence)” (1991, p. 6). In the following subchapter, lexical equivalence is discussed.
3.4.1. Lexical Equivalence
Knittlová distinguishes three types of lexical equivalence, i.e., absolute equivalence, partial equivalence, and zero equivalence73 (2003, p. 33).
Absolute equivalence comprises central vocabulary, i.e., “anthropocentric words”74 (Knittlová, 2003, p. 33-34).
In comparison with absolute equivalence, partial equivalence is more frequent since the source, and the target language is differnt from the historical and cultural point of view. This equivalence is further divided into formal, semantic denotative, semantic connotative, and pragmatic differences 75(Knittlová, 2003, p. 35).
72 Translated by Jana Minářová 73 Translated by Jana Minářová 74 Translated by Jana Minářová 75 Translated by Jana Minářová
21
Zero Equivalence deals with expressions that are either maintained or adapted to the target language. Moreover, when lacking an equivalent, the expression can be omitted (Knittlová 2003, p. 84-85).
3.5. Potential Problems
There is a tendency to translate words from the source text literally, which negatively affects the naturalness of the target text since the source and target language are not equivalent (Newmark, 1988, p.5).
Furthermore, the potential problems can emerge, e.g., “semantic connotation, i.e., expressive connotations, vulgarisms, intensifiers; stylistic connotation; and pragmatic differences, i.e., adding information, skipping information, substituting analogy, zero equivalence, multi-equivalence”76, additionally, cultural references, measures, familiar terms, proper names, collocations, metaphors, etcetera. All these aspects can be problematic since they are related to a particular country and its unique culture and history.
3.6. Product of Translation
The translation, as a product, is the translated text, the result of the process. Two types of translation are in existence, the first “relative” and the other the “critical and evaluative.” The “relative “one is an expression of a cultural and historical context of a particular area, e.g., literary text. The second type - “critical and evaluative” tends to be more precise and exact as for comparing with the source text, e.g., technical translation (Newmark, 2001, p. 5).
76 Knittlová, 2003, p. 58-85 Translated by Jana Minářová 22
4. Practical Part
The practical part discusses a transcript of the film and my personal translation and consequent analysis where three texts are compared, i.e., transcript, my translation, and official translation credited to a translator Petr Fantys.
4.1. Personal Translation of the Transcript
RICHARD RICHARD It’s 12:00 noon in London.7:00 a.m. in Je dvanáct hodin v Londýně. Sedm ve Philadelphia. And around the world, it’s Filadelfii. A po celém světě je čas na time for Live Aid. Wembley welcomes Live Aid. Stadion Wembley vítá její their Royal Highnesses, the Prince, and Královskou Výsost Prince a Princeznu Princess of Wales. z Walesu. MAN MUŽ David, look at me! Davide, podívej se na mě! LONDON HEATHROW AIRPORT LETIŠTĚ LONDÝN HEATHROW BAGGAGE HANDLER ZAMĚSTNANEC LETIŠTĚ Oi! You missed one, Pakkie! Hej! Jeden si propásnul, Pakoši! FREDDIE FREDDIE I’m not from Pakistan. Já nejsem z Pakistánu. BULSARAS’ HOUSE DŮM BULSARŮ JER JER Dinner is ready. Večeře je hotová. FREDDIE FREDDIE I’m not hungry, Mum. Nemám hlad, mami. JER JER Where are you going? Kam jdeš? FREDDIE FREDDIE Out with friends. Ven s kámošema. JER JER A girl? S dívkou? FREDDIE FREDDIE
23
Oh, Mum. Ale mami. JER JER Look at you. Give your mother a kiss. Jak ti to sluší. Dej mámě pusu. FREDDIE FREDDIE I’m going to be late. Přijdu pozdě. JER JER You’re always late. Pořád chodíš pozdě. KASHMIRA KASHMIRA Hi, Papa. How was work? Ahoj tati. Jak bylo v práci? BOMI BOMI Out again, Farrokh? Zase ven, Farrokhu? FREDDIE FREDDIE It’s Freddie now, Papa. Teď jsem Freddie, tati. BOMI BOMI Freddie or Farrokh, what difference does Freddie nebo Farrokh jaký je v tom it make when you’re out every night, no rozdíl, když se touláš po nocích a na thought of the future in your head? Good budoucnost ani nepomyslíš. Dobré thoughts, good words, good deeds. myšlenky, dobrá slova, dobré skutky. O That’s what you should aspire to. to bys měl usilovat. FREDDIE FREDDIE Yes. And how’s that worked out for Jasně. A jak to šlo u tebe? you? CLUB KLUB MAN MUŽ Yeah, they’re better than last week. Jo, jsou lepší než minulej týden. WOMAN 1 ŽENA 1 They’re a cool band. Jsou skvělí. WOMAN 2 ŽENA 2 Yeah, not bad. Jo, nejsou špatní. WOMEN 1 ŽENA 1 Yeah. Jo. BARTENDER BARMANKA What can I get for you? Co si dáte?
24
FREDDIE FREDDIE Pint of lager. Thank you. Jedno pivo. Děkuju. BARTENDER BARMANKA Thanks. Díky. MAN MUŽ See you, mate. Čau, kámo. YARD CLUB DVŮR ZA KLUBEM BRIAN BRIAN Humpy Bong? Humpy Bong? TIM TIM Humpy Bong. They’re going places. Humpy Bong. Ta kapela to někam They‘re gonna be big. dotáhne. Budou úspěšní. ROGER ROGER Humpy Bong? Are you joking? Humpy Bong? Děláš si srandu? BRIAN BRIAN Don’t do it, Tim. Nedělej to Time. TIM TIM No, I’m sorry, guys, but we’re not going Ne, je mi to líto, ale tohle nikam nevede. anywhere with this. What? College gigs, No co? Koncerty ve školách, po pubs? Gotta give it a go. hospodách? Musím to zkusit. CLUB KLUB WOMAN ŽENA So I just said to him, “No, you can’t do A tak jsem mu řekla: „Ne, to nemůžeš that.” udělat“.
MAN MUŽ You literally can’t hear anything. Fakt nejde nic slyšet. MARY MARY It’s a bit silly. But then everyone else Je to trochu hloupé. Ale to tam na sobě was in, like, long dresses? How bizarre. měli všichni dlouhé šaty? Docela You all right? zvláštní. Jsi v pohodě? FREDDIE FREDDIE Promiň. Jenom jsem hledal kapelu.
25
Sorry. Oh, I was just looking for the band. MARY MARY They’re usually out back. Obvykle bývají venku vzadu. FREDDIE FREDDIE I like your coat. Máš hezkej kabát. MARY MARY It’s from Biba. Je z Biby. MARY’S FRIEND KAMARÁDKA MARY She works there. Ona tam pracuje.
MARY MARRY Thank you. Děkuji ti. CLUB YARD DVŮR ZA KLUBEM ROGER ROGER I think he’s right. That show was a load Myslím, že má pravdu. Ten koncert stál of bollocks. za hovno. BRIAN BRIAN Well, there was room for improvement, No, byly tam nějaký nedostatky. To jo. yeah. ROGER ROGER I’ve got better things to do with my O sobotních večerech mám lepší věci na Saturday nights. I could give you their práci. Můžu ti dát jejích jména. names. FREDDIE FREDDIE I enjoyed the show. Užil jsem si koncert. BRIAN BRIAN Thanks, man. Dík chlape. ROGER ROGER Thank you. Díky. FREDDIE FREDDIE I’ve been following you for a while, actually. Smile. Makes sense for a dental
26 student. And you’re astrophysics, aren’t Vlastně už nějakou dobu chodím na vaše you? koncerty. Smile. To je pochopitelný pro studenta zubárny. A ty jsi astrofyzik, že? BRIAN BRIAN Yeah. Jo. FREDDIE FREDDIE Makes you the clever one. To musíš být ten chytrej. BRIAN BRIAN Yeah, I suppose it does, yeah. Jo, to asi jo. FREDDIE FREDDIE I study design here. Já tady studuju design. ROGER ROGER Oh, yeah? Fakt jo? FREDDIE FREDDIE Yeah. Also, um, I write songs. Might be Jo. Taky, hmm, píšu písničky. Mohlo by of interest to you. It's just a bit of fun, vás to zajímat. Jenom trochu zábavy, really. vážně. ROGER ROGER Well, you’re five minutes too late. Přišels pět minut po dvanácté. BRIAN BRIAN Our lead singer just quit. Náš hlavní zpěvák zrovna skončil. FREDDIE FREDDIE Well, then you’ll need someone new. No, to pak potřebujete někoho novýho. BRIAN BRIAN Any ideas? Nějaký nápady? FREDDIE FREDDIE What about me? Co třeba já? ROGER ROGER Uh, not with those teeth, mate. No, ne s takovýma zubama, kámo. Freddie is singing “Doing Alright”. Freddie zpívá „Doing Alright“. FREDDIE FREDDIE I was born with four additional incisors. More space in my mouth
27 means more range. I’ll consider your Narodil jsem se se čtyřma řezákama offer. navíc. Víc místa v puse znamená větší rozsah. Zvážím vaši nabídku. BRIAN BRIAN Uh, do you play bass? A hraješ na basu? FREDDIE FREDDIE Nope. Ne. BIBA OBCHODNÍ DŮM BIBA WOMAN ŽENA Excuse me. Thanks. Promiňtě. Díky.
MARY MARY So, you found me, then. How can I help Tak ty jsi mě teda našel. S čím ti můžu you? pomoct. FREDDIE FREDDIE Oh. Um, I rather liked these. Hmm, tyto se mi docela líbí. Nemáte je Do you think you have them in my size? náhodou v mý velikosti? MARY MARY This is the ladies’ section, so I’m not Toto je dámské oddělení, takže si nejsem exactly sure. úplně jistá. FREDDIE FREDDIE There wasn’t a sign or anything. Nebyl tady žádnej nápis nebo něco. MARY MARY I don’t think it should really matter, do Myslím, že na tom zas tak nezáleží, ne? you? BIBA/CHANGING ROOM BIBA/ŠATNA MARY MARY I thought you might like this. Tohle by se ti mohlo líbit. FREDDIE FREDDIE Are you even allowed to be in here? Můžeš tady vůbec být? MARY MARY No, not really. One more thing. May I? Ne tak úplně. Můžu? Máš takový You have such an exotic look. I love exotický vzhled. Líbí se mi tvůj styl.
28 your style. I think we should all take Myslím, že bychom měli všichni víc more risks. What do you think? riskovat. Co ty na to? PUB HOSPODA WOMAN 1 ŽENA 1 Oh, cheers. Na zdraví. MAN 1 MUŽ 1 Thank you. Děkuju. BRIAN BRIAN Hello, everybody. We’ve got a few fresh Ahoj všichni. Máme tady pár nových faces. This is John Deacon, our bass tváří. Toto je John Deacon, náš basák. Jo player. Yeah, and our new lead a náš nový hlavní zpěvák…Freddie singer...Freddie Bul... Bulsara...Freddie Bul…Bulsara …Freddie Bulsara. Bulsara. FREDDIE FREDDIE That’s right. Přesně tak. BRIAN BRIAN And Roger, of course. The biggest A samozřejmě Roger. Největší borec ze member of them all. všech. WOMAN 2 ŽENA 2 Hey, Roger! Čau, Rogere! FREDDIE FREDDIE Hello, all you beautiful people. Ahoj, všichni nádherní lidé. MAN 1 MUŽ 1 Where’s Tim? Kde je Tim? MAN 2 MUŽ 2 Who’s the Pakkie? Kdo je ten Pakoš? ROGER ROGER Ready, Freddie? Můžem Freddie? FREDDIE FREDDIE Let’s do it. Pojďme na to. The band is playing “Keep Yourself Kapela hraje „Keep Yourself Alive“. Alive”. BRIAN BRIAN
29
No, no. Wrong lyric! Wrong lyric. Learn Ne, ne. Špatnej text! Špatnej text! Nauč the song, Freddie. se tu písničku, Freddie. BUS STOP ZASTÁVKA FREDDIE FREDDIE You’re late. Máte zpoždění. AT THE VAN ON THE ROAD U DODÁVKY NA SILNICI ROGER ROGER This is bollocks! To je na hovno! BRIAN BRIAN It’s counterclockwise, I think you’ll Je to proti směru hodinových ručiček. find, John. Myslím, že na to přijdeš, Johne. JOHN JOHN Oh, is it? Thank you, Brian. Would you Jo, vážně? Děkuji ti Briane. Nechtěl bys like to do it? Please, feel free. to udělat? Prosím, neboj se toho. BRIAN BRIAN No, no, no. Doing a good job. Ne, ne, ne. Jde ti to skvěle. ROGER ROGER We sold out every pub and uni south of Vyprodali jsme každou hospodu a vejšku Glasgow, and I’m stuck in the middle of jížně od Glasgow a teď tady trčím nowhere, eating a ham sandwich! uprostřed ničeho a jím šunkovej sendvič! FREDDIE FREDDIE Trouble is, we’re just not thinking big Problém je, že nemáme dost velký cíle. enough. BRIAN BRIAN What have you got in mind, Fred? Co máš v plánu, Frede? FREDDIE FREDDIE An album. Album. JOHN JOHN We can’t afford an album. Na album nemáme. FREDDIE FREDDIE Oh, we’ll find a way. How much do you Ale nějak to vymyslíme. Kolik asi think we can get for this van? dostanem za tu dodávku? ROGER ROGER
30
I hope you’re joking. Doufám, že si děláš srandu. RECORDING STUDIO NAHRÁVACÍ STUDIO JOHN JOHN That’s three months’ wages. To jsou tři platy. ROGER ROGER And a perfectly good van. A naprosto skvělá dodávka. FREDDIE FREDDIE Don’t be so dramatic, darling. You’re Nebuď tak dramatickej, drahoušku. Dnes recording an album tonight. Let’s go! večer nahráváš album. Jdeme! FREDDIE FREDDIE Don’t you think I sound like shit? Nemyslíte, že zním naprosto otřesně? BRIAN BRIAN No, it’s good. Ne, je to dobrý. FREDDIE FREDDIE Can we try it again? Můžeme to zkusit znovu? RT RT Sure, yeah. Sure, it’s your money. Samozřejmě, jo. Jasně, jsou to vaše Literally. peníze. Doslova. JOHN JOHN Sounds a lot better. To zní mnohem líp. BRIAN BRIAN We need to get experimental. Musíme experimentovat. FREDDIE FREDDIE Try bouncing us left and right for the ah- Na to á-á-á nás zkuste přetočit doleva a ah-ahs. doprava. BRIAN BRIAN Now a dead centre for the last. A mrtvý bod naposled. ROGER ROGER And then blast it! Yes! A pak to odpal. Jo! BRIAN BRIAN That’s good, right? To je dobrý, že? FREDDIE FREDDIE Do we have time to stack a few more? Máme čas? Můžem ještě nahrávat?
31
RT RT The studio opens at 8:00, so we got 30 Studio se otvírá v osm, takže máme ještě more minutes. Hmm. 30 minut. Hmm. JOHN JOHN That sounds good, right? To zní dobře, že? BRIAN BRIAN Yeah. Jo. AaR MAN MUŽ ZE SPOLEČNOSTI AaR Oi, RT, who are these kids in the box? Hej, RT, co je to za děcka ve zkušebně? RT RT A student band doing some weird stuff. Studentská kapela. Dělají nějaký divný věci. AaR MAN MUŽ ZE SPOLEČNOSTI AaR How about demos? You got some? Co dema? Máš nějaký? RT RT Been up all night, mate. Jsem vzhůru celou noc, kámo. FREDDIE’S APARTMENT FREDDIEHO BYT MARY MARY So the new name is Queen? Takže nové jméno je Queen? FREDDIE FREDDIE As in “Her Royal Highness”. And Jako její „Královská Výsost“. A protože because it’s outrageous, and I can’t think je to šokující a nikdo víc šokující, než of anyone more outrageous than me. jsem já mě nenapadá. MARY MARY This is the most impractical bed. That’s To je ta nejnepraktičtější postel. To je beautiful. krásné. FREDDIE FREDDIE Think it has potential. Myslím, že to má potencionál. MARY MARY I have to go to work. Musím jít do práce. FREDDIE FREDDIE I simply won’t allow it. To prostě nedovolím. MARY MARY
32
You’re going to support me if I get fired? Budeš mě živit, když mě vyhodí? FREDDIE FREDDIE I’ll always look after you. Vždycky se o tebe budu starat. MARY MARY I’m going to... I’m going to be late. Budu…Budu mít zpoždění. FREDDIE FREDDIE How beautiful you are. Jsi tak krásná. BULSARAS’ HOUSE DŮM BULSARŮ Mary is intepretating her father’s sign Mary tlumočí znakovou řeč svého otce. language. MARY MARY When I was a little girl, I used to run Když jsem byla malá, běhávala jsem around the house and hide, and he okolo domu a schovávala jsem se a on couldn’t find me. Clever girl. mě nemohl najít. Chytré děvče. FREDDIE FREDDIE Please tell your father it’s nice to meet Řekni prosím svému otci, že ho rád him. poznávám. MARRY MARY I have. To jsem řekla. FREDDIE FREDDIE Then thank him for the lovely birthday Tak mu poděkuj za ten rozkošnej dort. cake. MARY MARY I have. To taky. FREDDIE FREDDIE Then tell him his daughter’s an epic Tak mu teda řekni, že jeho dcera je shag. fantastická šukna. MARY MARY Freddie, he can read lips. Freddie, umí odezírat ze rtů. JER JER Mary, I can’t tell you how long I have Mary, ani nevím, jak dlouho jsem čekala, waited for Farrokh to bring home a nice až Farrokh přivede domů milou dívku, girl like you. jako jsi ty.
33
MARY MARY Farrokh? Farrokh? JER JER Did Farrokh not tell you he was born in Farrokh ti neřekl, že se narodil Zanzibar? v Zanzibaru? MARY MARY No, he did not. Ne, neřekl. ROGER ROGER I used to know a girl who was Zanzibari. Znal jsem holku, která byla ze Zanzibaru. One minute. Minutu. BRIAN BRIAN I thought Freddie was born in London. Myslel jsem, že se Freddie narodil v Londýně. KASHMIRA KASHMIRA Oh, he was. At the age of 18. Narodil, ale v osmnácti. FREDDIE FREDDIE Shut up. Sklapni. JER JER Our family is Indian Parsee. V naší rodině jsme indičtí Pársové. FREDDIE FREDDIE Mum. Mum, Mum. Mami, mami, mami. JER JER Mary... Mary… FREDDIE FREDDIE Mum. Mum, please... Mami. Mami, prosím… JER JER Here. Have a look at these. Tady. Podívej se na tyto. MARY MARY Yes. Yeah. Ano. Jistě. FREDDIE FREDDIE Please! Please. Prosím! Prosím. JER JER No stopping. Nezastavujte.
34
BRIAN BRIAN We need to see those. Tamty musíme vidět. BOMI BOMI A thousand years ago, the Parsees fled to Před tisíci lety uprchli Pársové z Persie India from Persia to escape Muslim do Indie, aby unikli muslimské persecution. perzekuci. BRIAN BRIAN Really? That’s terrible. So why did you Opravdu? To je strašný. Tak proč jste leave Zanzibar? odešli ze Zanzibaru? BOMI BOMI We didn’t leave. We were chased out Neodešli jsme. Byli jsme vyhnáni, jen with just the clothes on our backs. s oblečením, co jsme měli na sobě. MARY MARY He’s so small. Je tak malý. JER JER He was quite a good boxer, actually. Byl vlastně docela dobrý boxer. Freddie is singing. Freddie zpívá. FREDDIE FREDDIE Happy birthday to me, Hodně štěstí, zdraví, happy birthday to me, hodně štěstí zdraví, happy birthday mister Mercury, hodně štěstí pane Mercury, happy birthday to me. hodně štěstí zdraví. KASHMIRA KASHMIRA He had to be. His opponents went for his Musel být. Jeho protihráči šli po jeho teeth, always trying to punch them in. zubech a vždy se ho snažili do nich praštit. ROGER ROGER Certainly a target. Jasnej terč. BRIAN BRIAN So how old is he in this photo? Tak kolik je mu na této fotce? JER JER I think three or four years old. Myslím, že tři nebo čtyři. BRIAN BRIAN
35
Really? Boxing already at that age? Fakt? Boxoval už tomto věku? KASHMIRA KASHMIRA So good. Tak dobrý. Freddie continues singing. Freddie pokračuje ve zpívání. KASHMIRA KASHMIRA Mercury? Mercury? FREDDIE FREDDIE No looking back. Only forward. Neohlížím se zpět. Jenom vpřed. BOMI BOMI So now the family name’s not good Takže teď ti není rodinné jméno dost enough for you? dobré? JER JER It’s just a stage name. Je to jen umělecké jméno. FREDDIE FREDDIE No, it’s not. I changed it legally. Got a Ne, není. Změnil jsem ho oficiálně. Mám new passport and everything. novej pas a všechno. MARY MARY Kash, how old are you here? Kashi, kolik je ti tady let? KASHMIRA KASHMIRA I don’t know. It was before Freddie went To nevím. Bylo to předtím, než šel off to boarding school. Freddie do internátní školy. BOMI BOMI I sent Farrokh away to make a good Poslal jsem tam Farrokha, abych z něj Parsee boy of him. He was too wild and udělal dobrého parského chlapce. Byl unruly. But what good did it do? Good příliš divoký a neposlušný. Ale k čemu to thoughts, good words, good deeds. bylo? Dobré myšlenky, dobrá slova, dobré skutky. Phone rings. Zazvoní telefon. BOMI BOMI You can’t get anywhere pretending to be Nikam se nedostaneš, když budeš someone you’re not. předstírat, že jsi někdo jiný. JER JER Kdo si dá koláč? Koláč je vždy k chuti.
36
Whovd like some cake? Cake is always good. KASHMIRA KASHMIRA Hello? Just a moment. Freddie Mercury. Prosím? Vydržte. Freddie Mercury. Phone call. Telefon. FREDDIE FREDDIE Quite like the sound of that. Docela se mi líbí, jak to zní. JER JER Freddie tells me that you’re some sort of Freddie mi říkal, že jste něco jako vědec. a scientist. BRIAN BRIAN Astrophysics, actually. Vlastně astofyzik. JER JER Oh. Aha. BRIAN BRIAN Yeah, my father would’ve preferred it if Jo, můj otec by byl raději, kdybych I continued. pokračoval. FREDDIE FREDDIE When? Kdy? JER JER That’s very clever. To je rozumné. JOHN JOHN He’s a dentist. On je zubař. BRIAN ROGER I was never a dentist. Nikdy jsem nebyl zubař. MARY MARY That’s a picture. I want to see. To je teda fotka. Chci to vidět. BRIAN BRIAN He’s a dentist. Je zubař. FREDDIE FREDDIE Actually… Vlastně… JER JER I see. That’s also quite clever,
37 actually. Chápu. To je vlastně taky docela rozumné. ROGER ROGER Kash...what are you doing later? Kashi…Co děláš později? KASHMIRA KASHMIRA Homework. Úkoly. ROGER ROGER Just making conversation. Jen se bavíme. BRIAN BRIAN What kind of music was he listening to Jaký hudbu v té době poslouchal? back in those days? JER JER Uh, he was listening to Little Richard. No, poslouchal Little Richarda. JOHN JOHN Very good. Richard, yeah. Hodně dobrý. Richard, jo. JER JER And his first band... A jeho první kapela… FREDDIE FREDDIE I have an announcement. One of the Mám oznámení. Jeden z mužů z A&R men from EMI saw us recording. nahrávacího studia EMI nás viděl Gave our demo to John Reid. He looks nahrávat. Dal naší demo nahrávku Johnu after Elton John. Reidovi. Stará se o Eltona Johna.
JOHN JOHN Oh, my God. Panebože. FREDDIE FREDDIE Mr. Reid wants to meet us and possibly, Pan Reid se s námi chce setkat a možná even manage us. nám dokonce dělat manažera. JOHN JOHN Shut up. Sklapni. ROGER ROGER You’re joking! Dělaš si srandu! MARY MARY
38
Oh, my God! Můj Bože! MEETING WITH JOHN REID SETKÁNÍ S JOHNEM REIDEM ROGER ROGER You’re sure he said 12 o’clock? Jseš si jistej, že říkal ve 12? BRIAN BRIAN Yes. “Midday at the pub, don’t be Jo. „V poledne v hospodě a nebuďte drunk.” That’s what he said. opilí.“ To je vše, co řekl. JOHN JOHN You look a bit nervous, Brian. Vypadáš trochu nervózně, Briane. BRIAN BRIAN John, I’m fine. Jsem v pohodě, Johne. JOHN JOHN You’re usually so particular. Obvykle býváš přesnější. ROGER ROGER You just gotta be cool. Prostě musíš být v klidu. BRIAN BRIAN Wow! Ty jo! MAN MUŽ Wanker. Kokot. BRIAN BRIAN I didn’t know it was fancy dress, Fred. Nevěděl jsem, že jdem na maškarní, Frede. FREDDIE FREDDIE I’ve gotta make an impression, darling. Musím udělat dojem, drahoušku. JOHN JOHN You look like an angry lizard. Vypadáš, jak naštvaná ještěrka. BRIAN BRIAN It’s your best work. Very subtle. To je tvůj nejlepší kousek. Rafinovaný. JOHN JOHN You gonna fly away? Can I borrow it for Chystáš se odletět? Můžu si to půjčit na Sunday church? nedělní mši? JOHN REID JOHN REID
39
So, this is Queen. And you must be Tak, toto je Queen. A vy musíte být Freddie Mercury. You’ve got a gift. You Freddie Mercury. Máte dar. Vy všichni all have. So tell me what makes Queen ho máte. Takže, řekněte mi, v čem se any different from all the other wannabe lišíte od těch ostatních rádoby rockových rock stars I meet? hvězd, které potkávám. FREDDIE FREDDIE I’ll tell you what it is. Were four misfits Řeknu vám, v čem to je. Jsme čtyři who don’t belong together, playing to podivíni, kteří k sobě nepatří. Hrajeme the other misfits. The outcasts right at pro ostatní podivíny. Pro vyvrhele na the back of the room...who are pretty konci místnosti, kteří jsou přesvědčení, sure they don’t belong either. We belong že taky nikam nepatří. My patříme to them. k nim. BRIAN BRIAN We’re a family. Jsme rodina. ROGER ROGER But no two of us are the same. Ale ani dva z nás nejsou stejní. JOHN REID JOHN REID Paul. Paul Prenter, meet Queen, our new Paule. Paule Prentere, seznamte se signing. Paul will be looking after your s Queen, našimi novými klienty. Paul day-to-day. bude mít na starost váš každodenní život. PAUL PAUL Pleasure. Těší mě. JOHN REID JOHN REID If I can get you on the radio, maybe I can Pokud vás dokážu dostat do rádia, možná get you on television. vás dokážu dostat i do televize. ROGER ROGER Top of the Pops? Do hitparády? JOHN REID JOHN REID Hopefully. Doufejme. FREDDIE FREDDIE And then? A pak? JOHN REID JOHN REID
40
And then, it’s only the biggest television A pak, je to jen největší televizní pořad program in the country. No one’s ever v zemi. Nikdo o vás nikdy ani neslyšel. even heard of you. Look, I admire your Podívejte, obdivuju vaše nadšení. Jestli enthusiasm. If it goes well, if it happens, to půjde dobře, jestli se to stane, mám I’ve got a promotional tour of Japan in naplánované turné po Japonsku. mind. FREDDIE FREDDIE We’ll want more. Budeme chtít víc. JOHN REID JOHN REID Every band wants more. Každá kapela chce víc. JOHN JOHN Every band’s not Queen. Každá kapela není Queen. BBC STUDIO STUDIO BBC PAUL PAUL Listen, I understand. Poslouchejte, já to chápu. MAN MUŽ Hurry up. Honem. PAUL PAUL I understand that it’s the policy of the Rozumím, že jsou to pravidla BBC. BBC. DIRECTOR REŽISÉR We have procedures. Máme svoje postupy. ROGER ROGER This is shit! To je blbost! PAUL PAUL I need you to explain it to the band, Potřebuju, abyste to vysvětlil kapele, please. prosím. DIRECTOR REŽISÉR Okay, let’s make it quick. Dobře, urychleme to. PAUL PAUL Freddie, boys. Freddie, kluci. DIRECTOR REŽISÉR
41
Look, chaps, it is going to be playback. Dívejte. Bude se to hrát přes playback. Lip-synch’s all that’s required. Stačí když budete pohybovat rty. ROGER ROGER We do know how to play our My asi víme ne, jak hrát na ty nástroje. instruments. FREDDIE FREDDIE You want me to lip synch? Chcete, abych dělal, že zpívám BRIAN BRIAN I don’t understand why we can’t simply Nechápu, proč prostě nemůžeme hrát na perform live. živo. DIRECTOR REŽISÉR The audience will never know the Publikum ten rozdíl nikdy nepozná. difference. BRIAN BRIAN We’ll know the bloody difference. My ten blebej rozdíl poznáme. DIRECTOR REŽISÉR This is the BBC. That’s how things are Toto je BBC. A tak se to tady dělá. done around here. All right? Don’t be a Jasné? Nedělejte problémy. nuisance. PAUL PAUL Freddie, it’ll be great. Freddie, bude to v pohodě. MARY MARY You’ll just have to make sure no one’s Musíš se jenom ujistit, že se ti nikdo looking at your lips. nebude dívat na rty. ROGER ROGER Well, the way things are done are a load No, způsob, jakým se to tady vede, je of bollocks, old chap. pěkná kravina, chlape. BRIAN BRIAN Chap, this is the BBC. Chlape, toto je BBC. JOHN JOHN I’m relieved. To se mi ulevilo. BRIAN BRIAN You would be. To by mělo.
42
JOHN JOHN Perfect performance. Skvělý představení. DIRECTOR REŽISÉR Number two, only above the waist. Dvojko, jen nad pas. Kameru nahoru! Camera up! Camera two! No one wants Dvojko! Nikdo toto nechce vidět během to see this while they’re eating their jídla. meal. FREDDIE’S AND MARY’S FREDDIEHO A MARYIN BYT APARTMENT MARY MARY What was it like singing for all those Jaké to bylo zpívat pro všechny ty lidi? people? FREDDIE FREDDIE When I know theyre listening. When I Když vím, že poslouchají. Když vím, že know I really have them, I couldn’t sing je opravdu mám, nedokázal bych zpívat off-key if I tried. I’m exactly the person falešně, i kdybych se snažil. Jsem přesně I was always meant to be. I’m not afraid tím, kým jsem měl vždy být. Ničeho se of anything. The only other time I ever nebojím. feel that way is when I’m with you. A takto se ještě cítím, když jsem s tebou. Don’t move. Don’t move. You’re the Nehýbej se. Nehýbej se. Jsi láska mého love of my life. života. MARY MARY Freddie. Which finger do I put this on? Freddie. Na který prst si ho mám navléct? FREDDIE FREDDIE Wedding finger. Will you marry me? Na ten svatební. Vezmeš si mě? MARY MARY Yes! Ano! FREDDIE FREDDIE Are you gonna leave it in the box? Hodláš ho nechat v krabičce? MARY MARY Freddie, it’s beautiful. I love it. Freddie, je překrásný. Líbí se mi. FREDDIE FREDDIE
43
Promise me you’ll never take it off. Slib mi, že si ho nikdy nesundáš. MARY MARY Oh, I promise. Slibuju. FREDDIE FREDDIE No matter what. Ať se stane cokoliv. MARY MARY I love you, Freddie. You’re going to do Miluju tě, Freddie. Dokážeš skvělé věci. such great things. FREDDIE FREDDIE We’re going to do great things. My dokážeme skvělé věci. ROGER ROGER Your phone’s off the hook. This is Máš vyvěšenej telefon. To je Crystal. Crystal. CHERYL CHERYL Cheryl! Cheryl! ROGER ROGER Oh, that’s right. My mistake. Jo, to je pravda. Moje chyba. CHERYL CHERYL Where’s your loo? Kde máte vécko? MARY MARY Uh, just down. Přímo dole. FREDDIE FREDDIE Oh, come on in. Make yourselves at Pojďte dál, jako doma. Nás si home. Don’t mind us. nevšímejte. BRIAN BRIAN Hello, Mary. How’s your dad? Ahoj Mary, jak se má táta? MARY MARY Yeah, pretty well. Thanks. Docela dobře. Díky BRIAN BRIAN Good. Dobrý. FREDDIE FREDDIE What’s going on, Brian? O co jde Briane? BRIAN BRIAN
44
Well, if you’d answered your phone, No, kdybys zvedl telefon, tak bys to už you’d know already. věděl. FREDDIE FREDDIE This really isn’t a good time, guys. Teď opravdu není správnej čas, lidi. BRIAN BRIAN John Reid called today. He has a little Dnes volal John Reid. Má pro nás tour in mind for us. naplánovaný malý turné. ROGER ROGER It’s not little, Brian. He's booked us a Není malý, Briane. Naplánoval nám tour of America. The album’s hit the turné po Americe. Album se dostalo do charts in the U.S.! hitparády v USA! FREDDIE FREDDIE Oh, yes! Yes! Jo! Jo! BRIAN BRIAN Yes! It’s happening! Jo! Je to tady! The band is on tour in the U.S. Kapela je na turné v USA. ON STAGES/The band is playing “Fat NA PÓDIÍCH/Kapela hraje „Fat Bottomed Girl”. Bottomed Girl“. FREDDIE FREDDIE Now, who wants to take a ride? A teď, kdo se chce projet? FREDDIE FREDDIE We love you, Cleveland! Milujem tě Clevelande! We love you, Houston! Milujem tě Houstone! We love you, Denver! Milujem tě Denvere! Very happy to be here! Tak rádi tady jsme. Freddie is making a phone call to Mary. Freddie telefonuje s Mary. MARY MARY And are the crowds big? A jsou ty davy velké? FREDDIE FREDDIE Well, we’re selling out every night. I just No, vyprodáváme každou noc. Kéž bys wish you were here to see it. They really tady byla, a viděla to. Fakt nás žerou. love us. ON STAGES NA PÓDIÍCH
45
FREDDIE FREDDIE We love you, Portland! He’s got a big Milujem tě Portlande. On má taky velkej ass, too! We love you, New Orleans! zadek. Milujem tě, New Orleans! JOHN JOHN We love you, Atlanta! Milujem tě Atlanto! FREDDIE FREDDIE Rog, come down here and say hello. Rogi, pojď sem dolů pozdravit. ROGER ROGER We love you, Pittsburgh! Milujem tě, Pittsburghu! FREDDIE FREDDIE Roger! Now, hit it! Rogere! Teď do toho prašť. Freddie is making a phone call to Mary. Freddie telefonuje s Mary. MARY MARY I’m good. I just miss you. Mám se dobře. Jenom mi chybíš. FREDDIE FREDDIE What are you doing? You can’t possibly Určitě se beze mě ani trochu nebavíš. be having any fun without me. MARY MARY Nothing is exciting as America. Say hi Nic není tak zábavného jako Amerika. to the boys for me. Pozdravuj ode mě kluky. FREDDIE FREDDIE I will. Love you. Budu. Miluju tě. MARY MARY Bye, Freddie. I love you. Ahoj Freddie. Miluju tě. RAY FOSTER’S OFFICE KANCELÁŘ RAYE FOSTERA FREDDIE FREDDIE Hello. Zdravím. RAY FOSTER RAY FOSTER You’re late. Jdete pozdě. FREDDIE FREDDIE Am I? Opravdu? PAUL PAUL We saved you a seat. Držíme ti místo.
46
FREDDIE FREDDIE Lovely. Rozkošné. JOHN REID JOHN REID Okay. So, now that we’re all here. Jim, Dobře. Takže teď, když jsme tady this is Ray Foster. Ray, this is the band’s všichni. Jime, toto je Ray Foster. Rayi, lawyer, Jim Beach. toto je právník kapely, Jim Beach. JIM BEACH JIM BEACH Hello. Zdravím. FREDDIE FREDDIE You must stop calling him that. Takhle mu nemůžete říkat. JOHN REID JOHN REID That’s his name. To je jeho jméno. FREDDIE FREDDIE No, we cannot keep calling him “Jim Ne, nemůžeme mu přece říkat Jim Beach”. No, that’s absurd, not to Beach. Ne, to je absurdní zmiňovat, mention, unspeakably boring. Miami. nepopsatelně nudný. Miami. Od teď, From now on, I dub thee “Miami staniž se „Miami Beach“. Beach”. JIM BEACH JIM BEACH The sun always sets behind you, doesn’t Slunce vždy zapadá za vámi, že? Na it? On Miami Beach. Miami Beach. JOHN JOHN Hmm. Hm. RAY FOSTER RAY FOSTER Right. Now that everybody’s got an Dobře. Teď když má každý přijatelné acceptable name. Let’s get to it. Look, jméno. Pojďme na to. Dívejte, opravdu we just really need something special. potřebujeme něco speciálního. Víc hitů More hits like Killer Queen only bigger. jako Killer Queen, jenom větší. ROGER ROGER It's not bloody widgets we’re making. To nejsou žádný napodobeniny, co We can’t just reproduce Killer Queen. děláme. Nemůžeme zopakovat Killer Queen. FREDDIE FREDDIE
47
No. We can do better. Ne. Umíme to líp. Freddie switches on a record player Freddie zapne gramofon s operní písní. with an operatic song. RAY FOSTER RAY FOSTER It’s opera. To je opera. JOHN REID JOHN REID Opera! Opera! PAUL PAUL Opera! Opera! JOHN JOHN There seems to be an echo in here. Zdá se, že je tady ozvěna. BRIAN BRIAN See, we don’t want to repeat ourselves. Vidíte, my se nechceme opakovat. Ten The same formula over and over. samej vzorec pořád dokola. FREDDIE FREDDIE Formulas are a complete and utter waste Vzorce jsou naprostá a totální ztráta of time. času. RAY FOSTER RAY FOSTER Formulas work. Let’s stick with the Vzorce fungují. Zůstaňme u vzorců. formulas. I like formulas. Mám rád vzorce. FREDDIE FREDDIE We’ll call the album “A Night at the Nazveme to album „A Night at the Opera”. Opera“. RAY FOSTER RAY FOSTER Are you aware that no one actually likes Je vám jasné, že nikdo vlastně nemá rád opera? operu. JIM BEACH JIM BEACH I like opera. Já mám rád operu? RAY FOSTER RAY FOSTER Do you? Máte? JOHN REID JOHN REID I do. Jo, mám. FREDDIE FREDDIE
48
No, don’t misunderstand, darling. It’s a Ne, nechápejte to špatně, drahoušku. Je rock and roll record with the scale of to rokenrolová nahrávka s rozsahem opera, the pathos of Greek tragedy, the opery, dojemností řecké tragédie, wit of Shakespeare, the unbridled joy of důvtipem Shakespeara, nespoutanou musical theater. It’s a musical radostí muzikálu. Je to hudební zážitek. experience. JOHN JOHN Yeah. Jo. FREDDIE FREDDIE Rather than just another record. Spíš než jen další nahrávka. Něco pro Something for everyone, každého, něco…hmm. Něco, díky čemu something...hmm. Something that will se budou lidi cítit, že někam patří. make people feel belongs to them. We’ll Smícháme žánry, překročíme hranice, mix genres, we’ll cross boundaries, zazpíváme to v hymnech, když budem we’ll speak in bloody tongues if we want chtít. to. ROGER ROGER There’s no musical ghetto that can To nejde nás zaškatulkovat. contain us. FREDDIE FREDDIE That’s it. Přesně tak. JOHN JOHN No one knows what Queen means Nikdo neví, co Queen znamená, protože because it doesn’t mean one thing. to neznamená jednu věc. RAY FOSTER RAY FOSTER What do you think, John? Co myslíš Johne? JOHN REID JOHN REID I agree with the band. Já souhlasím s kapelou. RAY FOSTER RAY FOSTER Of course, you do. How about you, uh.. Samozřejmě, že jo. A co vy, hm… JIM BEACH JIM BEACH Miami. Miami. FREDDIE FREDDIE
49
Hmm. Hmm. JIM BEACH JIM BEACH Future favours the bold. Odvážnému štěstí přeje. FREDDIE FREDDIE Surely, a man of your...unique Nepochybně, muž vašeho… taste...isn’t afraid of a little risk? výjimečného vkusu…se nebojí trochu zariskovat? RAY FOSTER RAY FOSTER Please don’t make me regret this. Prosím, nenuťte mě toho litovat. FREDDIE FREDDIE You’re fun. S vámi je sranda. RIDGE FARM FARMA RIDGE ROGER ROGER Recording studio? Nahrávací studio? PAUL PAUL Well, the idea was to get away from all No, cíl byl uniknout veškerému distractions. Right, I know it’s not the rozptýlení. Dobře, vím, že to není Hilton. Ritz. Not even close. Roger, you’re in Ani se tomu neblíží. Rogere, tady je to here. tvoje. ROGER ROGER Right. Dobře. PAUL PAUL Freddie, this is you. Biggest room. Freddie, ten je tvůj. Největší pokoj. Brian, that’s you. John, you’re Briane, toto je tvoje. Johne, ty jsi dole. A downstairs. And this is all yours, John. toto je celý tvoje, Johne. Menší pokoje se Smaller rooms don’t get nearly as cold. tak rychle neochladí. JOHN JOHN Okay. Dobře. Freddie is singing “Love Of My Life”. Freddie zpívá „Love Of My Life“. FREDDIE FREDDIE Hmm. Oh, that’s really good. Hmm. To je vážně dobrý. PAUL PAUL Hmm. It’s beautiful. What’s it called? Hm. To je krásný. Jak se to jmenuje?
50
FREDDIE FREDDIE “Love of My Life”. I wrote it for Mary. „Love of My Life“. Napsal jsem to pro Mary. PAUL PAUL If you say so. Když to říkáš. FREDDIE FREDDIE Don’t misunderstand, Paul. Mary knows Nechápej mě špatně, Paule. Mary mě zná me in a way that no one else ever will. tak, jak mě nikdo nikdy znát nebude. PAUL PAUL I know you, Freddie Mercury. Já tě znám, Freddie Mercury. FREDDIE FREDDIE Is that what you think? Oh, no, you don’t To si fakt myslíš? Ne, ty mě neznáš. Ty know me. You just see what you want to jenom vidíš, co chceš vidět. Pracujeme see. We work together. That’s all. spolu. A to je vše. The band is having breakfast. Kapela snídá. ROGER ROGER I put my heart and soul into this song. Do této písničky jsem dal tělo a duši. JOHN JOHN No one is disputing that. To nikdo nezpochybňuje. ROGER ROGER And you don’t like it because you want A tobě se nelíbí, protože chceš v albu your songs on the album! svoje písničky. JOHN JOHN It’s not that, Roger. Tím to není, Rogere. ROGER ROGER Then what is it? Čím to teda je? BRIAN BRIAN “I’m in Love with My Car.” Maybe it’s „I’m in Love with My Car.“ Možná není not strong enough? dost silná? ROGER ROGER What does that even mean “not strong Co to vlastně znamená „ne dost silná“? enough”? FREDDIE FREDDIE
51
I know I’m late. What did I miss? Vím, že jdu pozdě. O co jsem přišel? JOHN JOHN Discussing Roger’s car song. Probíráme Rogerovu písničku o autu. BRIAN BRIAN Is it strong enough? That’s all I’m Je to dost silná? To je vše, na co se ptám. asking. If I’m on my own here, then I Jestli jsem tady jediný, pak se apologize. omlouvám. ROGER ROGER How does your new song go, then, A jak to jde s tvou novou písniškou, co? hmm? “You call me sweet like I’m some „Říkáš mi cukroušku, jako bych byl kind of cheese.” nějakej kus sýru.“ BRIAN BRIAN It’s good. To je dobrý. ROGER ROGER Wow. Ty jó. BRIAN BRIAN “When my hand’s on your grease gun...” „Když jsou mé ruce na tvé mazací That’s very subtle, isn’t it? pumpičce…“ To je hodně jemný, že? ROGER ROGER It’s a metaphor, Brian. To je metafora, Briane. BRIAN BRIAN It’s just a bit weird, Roger. Je to trochu divný, Rogere. JOHN JOHN What exactly are you doing with that Co přesně s tím autem děláš? car? FREDDIE FREDDIE Children, please. We could all murder Děti, prosím. Mohli bychom se všichni each other but then who would be left to pozabíjet, ale kdo by pak zbyl a nahrál to record this album? album? JOHN JOHN Statistically speaking, most bands don’t Podle statistik většina kapel neselže, ale fail. They break up. rozpadne se. FREDDIE FREDDIE
52
Why the hell would you say something Proč bys sakra říkal něco takovýho? like that? Roger, there’s only room in Rogere, v této kapele je místo pro jednu this band for one hysterical queen. hysterickou dámičku. BRIAN BRIAN You know why you’re angry, Roger? Víš, proč jsi naštvanej, Rogere? ROGER ROGER Why? Proč? BRIAN BRIAN ‘Cause you know your song isn’t strong Protože víš, že tvoje písnička není dost enough. silná. JOHN JOHN Not. Není. ROGER ROGER Is that strong enough? What about that? Je to dost silný? A co tohle? BRIAN AND JOHN BRIAN A JOHN Not the coffee machine! Ne ten kávovar! The band is recording “Bohemian Kapela nahrává „Bohemian Rhapsody“. Rhapsody”. Brian is playing the guitar. Brian hraje na kytaru. BRIAN BRIAN What next? Co dál? FREDDIE FREDDIE That was pretty damn good. Brilliant. I To bylo zatraceně dobrý. Skvělý. Žeru love that. to. BRIAN BRIAN Press the button, Freddie. Zmáčkni to tlačítko, Freddie. FREDDIE FREDDIE I know, I know where it is. I know Já vím, vím, kde to je. Vím, kde. Ťuk, where. Knock, knock. ťuk. BRIAN BRIAN Good. Dobrý. FREDDIE FREDDIE
53
It’s good. Um…You know, play it like Je to dobrý. Ale…víš, zahraj to tak, jak you wrote it. jsi to napsal. BRIAN BRIAN Well, I did. I wrote that part. Tak jsem to zahrál. Napsal jsem tu část. FREDDIE FREDDIE Taking the piss. Dělám si prdel. BRIAN BRIAN Okay. Are you happy? Dobře. Jsi spokojenej? FREDDIE FREDDIE I think it’s beautiful. It’s almost perfect. Myslím, že je to krásný. Skoro dokonalý. BRIAN BRIAN Almost? Skoro? FREDDIE FREDDIE Yes, give it more rock and roll. Jo, dej do toho víc rokenrolu. BRIAN BRIAN I’m always up for that, Fred. Já jsem vždy pro, Frede. FREDDIE FREDDIE Put your body into it. Dej do toho celý tělo. BRIAN BRIAN Right. Okay. Put my body into it. I got Jasný. Dobře. Dám do toho celý tělo. it. Chápu. FREDDIE FREDDIE Not like that. Ne takto. BRIAN BRIAN No, I got it. I got it. Bit more soul, yeah? Ne, chápu to. Chápu to. Trochu víc duše, jo? FREDDIE FREDDIE Alright. Give it more heart. Dobře. Dej do toho víc srdce. BRIAN BRIAN I’ll do that. We good to go? Roy, you Udělám to. Jsme připravení? Dobrý good? Royi? Brian is playing the guitar. Brian hraje na kytaru. FREDDIE FREDDIE
54
Oh, and then there’s the operatic section. A pak je operní sekce. Bude se ti to líbit. You’re gonna love it. BRIAN BRIAN The operatic section? Operní sekce? FREDDIE FREDDIE I know, it sounds crazy. Vím, zní to šíleně. BRIAN BRIAN I love it, Fred. I love it. Líbí se mi to, Frede. Líbí. FREDDIE FREDDIE I don’t know. It could be a flop. It could Nevím. Mohl by to být propadák. Mohlo work. by to fungovat. BRIAN BRIAN I love it! Žeru to! FREDDIE FREDDIE What have we got to lose? Co můžeme ztratit? BRIAN BRIAN Nothing. Nic. FREDDIE FREDDIE If you say so. Když to říkáš. BRIAN BRIAN Okay, let’s go. Dobře. Pojďme na to. FREDDIE FREDDIE Deacy. Deacy. Roger is singing the part of the song with Roger zpívá část písně s „Galileem“. “Galileo”. ROGER ROGER How was that? Jaký to bylo? JOHN JOHN Freddie? Freddie? FREDDIE FREDDIE Higher. Výš. JOHN JOHN Can you go a bit higher? Můžeš jít o trochu výš?
55
ROGER ROGER If I go any higher, only dogs will hear Když půjdu ještě výš, jenom psi mě me. uslyší. FREDDIE FREDDIE Try. Zkus to. JOHN JOHN Freddie’s note. Sorry. Freddieho noty, promiň ROGER ROGER Go on, roll the tape. Pokračuj, nahraj to. RT BAKER RT BAKER Overdub 24 of “Fred’s Thing”. Nahrávka 24 „té Freddieho věci“. ROGER ROGER How was that? Better? Jaký to bylo? Lepší? FREDDIE FREDDIE Higher. Výš. ROGER ROGER Jesus! How many more “Galileos” do Ježiši! Kolik „Galileů“ ještě chceš? you want? JOHN JOHN Freddie wants to do a few more Freddie chce udělat ještě pár dalších overdubs. nahrávek. ROGER ROGER Do we even have any tape left? Zbyla nám vůbec ještě nějaká páska. JOHN JOHN I do have to say the tape is wearing out. No, páska nám fakt dochází. Víc jich It can't take much more. zabrat nemůže. BRIAN BRIAN Yeah, we can’t afford much more. Jo, víc si jich dovolit nemůžem. Podle We’re already three weeks over plánu máme už třítýdenní skluz. schedule. RT BAKER RT BAKER Dub 26 of “Fred’s Thing”. Nahrávka 26 „Freddieho Věci“. JOHN JOHN
56
One more, one more. Ještě jednou, ještě jednou. RT BAKER RT BAKER One more. Again. Ještě jednou. Znovu. BRIAN BRIAN Go on, roll the track. Pokračuj, přehraj tu skladbu. ROGER ROGER Who even is Galileo? My nuts feel like Kdo vlastně je ten Galileo? Připadám si, they’re in my chest right now. Are we jako bych měl koule až v hrudníku. done? Máme hotovo? JOHN JOHN That’s it. He loves you. To je ono. Žere tě. FREDDIE FREDDIE That’s it. It’s beautiful! Love it! To je ono. Je to skvělý! Žeru to! RAY FOSTER’S OFFICE KANCELÁŘ RAYE FOSTERA RAY FOSTER RAY FOSTER Christ. Well, I’m not entirely sure that’s Bože. No, nejsem si úplně jistý, že to je the album you promised us. to album, co jste mi slíbili. FREDDIE FREDDIE No, it’s better than the album we Ne, je to lepší než album, co jsme vám promised you. It’s better than any album slíbili. Je to lepší než kterýkoli album, anyone’s ever promised you, darling. kdokoli vám kdy slíbil, drahoušku. Je to It’s a bloody masterpiece. zatracený mistrovský dílo. RAY FOSTER RAY FOSTER Christ. Bože. JOHN REID JOHN REID It is a good album, Ray. Je to dobré album, Rayi. ROGER ROGER We prefer “masterpiece”. Upřednostňujeme „mistrovské dílo“. RAY FOSTER RAY FOSTER It’s expensive, and as Je to drahý, a pokud jde o… for…“Bohemian”... „Bohemian“… BRIAN BRIAN Rhapsody. Rhapsody.
57
RAY FOSTER RAY FOSTER Rhapsody. What is that? Rhapsody. Co to je? FREDDIE FREDDIE It’s an epic poem. Je to epická báseň. RAY FOSTER RAY FOSTER It goes on forever. Six bloody minutes. Trvá to věčnost. Šest zatracenejch minut. RAY FOSTER RAY FOSTER Rhapsody. What is that? Rhapsody. Co to je? FREDDIE FREDDIE It’s an epic poem. Je to epická báseň. RAY FOSTER RAY FOSTER It goes on forever. Six bloody minutes. Trvá to věčnost. Šest zatracenejch minut. FREDDIE FREDDIE I pity your wife if you think six minutes Lituju vaši ženu, jestli si myslíte, že šest is forever. And do you know what? minut je věčnost. A víte co? Vypustíme We’re going to release it as our single. to jako náš singl. RAY FOSTER RAY FOSTER Not possible. Anything over three Nemožný. Cokoliv nad pět minut a minutes and the radio stations won’t radiové stanice to nepustí, tečka. A o čem program it, period. And what on earth is to proboha vůbec je? Scaramouche? it about, anyway? Scaramouche? Galileo? A všechno s tou „Ismillah“ Galileo? And all that “Ismillah” věcí! „Ismillah?“ business! “Ishmillah”? BRIAN BRIAN It ruins the mystery if everything’s Tajemství se pokazí, když se všechno explained. prozradí. RAY FOSTER RAY FOSTER Seldom ruins sales. Three minutes is the Ale těžko to pokazí prodej. Tři minuty standard. John. jsou standard. Johne. JOHN REID JOHN REID Yeah, we need radio. Format is three Jo, rádio potřebujeme. Tři minuty jsou minutes, I have to agree with Ray. I standard. Musím souhlasit s Rayem.
58 actually think the single’s “Love of My Vlastně si myslím, že „Love of My Life“ Life”. je singl. BRIAN BRIAN No. Ne. JOHN REID JOHN REID Okay, how about John’s song “You’re Dobře. A co takhle Johnova písnička My Best Friend”? You know? “Ooh, you „You’re My Best Friend“? Chápete? make me live. ” Catchy, stronger. „Ooh, you make me live.“ Chytlavé, silnější. RAY FOSTER RAY FOSTER What about “I’m in Love with My Car”? A co takhle „I’m in Love with My Car“? JOHN JOHN You’re joking! Děláte si srandu? BRIAN BRIAN Oh, Jesus. Ježiši. RAY FOSTER RAY FOSTER I love it. Well, that’s the kind of song Žeru to. No, to je ten typ písně, co si teenagers can crank up the volume in teenageři můžou pustit v autě na plný their car and bang their heads to. pecky a hází do toho hlavou. Bohemian Bohemian Rhapsody will never be that Rhapsody to nikdy nebude. song. BRIAN BRIAN It’s a band decision, Bohemian Je to rozhodnutí kapely, Bohemian Rhapsody. That’s it. Rhapsody. A tak to bude. RAY FOSTER RAY FOSTER You’re My Best Friend, and it’s my You’re My Best Friend a jsou to moje money. peníze. ROGER ROGER Bo-Rap, period. Bo-Rap a tečka. FREDDIE FREDDIE Or we walk. Nebo odejdeme. PAUL PAUL
59
“MacArthur Park” was seven minutes „MacArthur Park“ byl dlouhej sedm long. It was a hit. minut. Byl to hit. RAY FOSTER RAY FOSTER Look, I’m not arguing Bohemian Podívejte, já se tady nedohaduju o whatever’s... Bohemian … FREDDIE FREDDIE Rhapsody! Rhapsody! RAY FOSTER RAY FOSTER …musicianship. But there’s no way in …nebo co to je za muzikantskej kousek. hell the station will play a six-minute V žádném případě nebudou v rádiu hrát quasi-operatic dirge comprised of šest minut dlouhej takzvanej operní nonsense words! Bismillah? Bullshit! I žalozpěv plnej nesmyslů. Bismillah? paid for this record, so I say what goes! Kravina! Zaplatil jsem za nahrávku, takže já rozhoduju! BRIAN BRIAN Have we no legal recourse on this? To nemáme žádnou právní pomoc? JIM BEACH JIM BEACH Ray, you did Dark Side of the Moon, Rayi, vy jste dělal Dark Side of the didn’t you? Moon, že jo? RAY FOSTER RAY I did. Jo, dělal. JIM BEACH JIM BEACH Yeah, I absolutely love that record. Tu nahrávku naprosto zbožňuju. Právně Legally, no. No, he’s got all your balls in ne. Ne, má vaše koule ve svěráku. a vice. It’s a different matter in the court Samozřejmě je to něco jiného na poli of public opinion, of course. Ray veřejného mínění. Ray Foster je pojem Foster’s a giant name in the music v hudebním průmyslu, ale na druhou industry but to the average person. Say stranu řekněte průměrnému člověku the name Queen, on the other hand, ears jméno Queen a nastraží uši. prick up. RAY FOSTER RAY FOSTER We’re going with “You’re My Best Bude tam „You’re My Best Friend“. A Friend”. Done. hotovo.
60
FREDDIE FREDDIE No. We know what we have, even if you Ne. My víme, co máme, i když vy ne. dont. It’s called Bohemian Rhapsody. Jmenuje se to Bohemian Rhapsody. You will forever be known as the man Navždy budete známej jako muž, co who lost Queen. přišel o Queeny. JOHN REID JOHN REID Temperamental artists, eh? They’re well Temperamentní umělci, že? Dobře ví, že aware they’re tied to a contract, but who jsou vázáni smlouvou, ale kdo ví, co se knows what goes on inside the děje v záhadné mysli nahrávajícího inscrutable mind of the recording artist? umělce?
RAY FOSTER RAY FOSTER Mark these words. If they’re not careful Zapamatujte si tyto slova. Když nebudou by the end of the year, no one will know opatrní, na konci roku nebude nikdo znát the name, Queen. jméno, Queen. PAUL PAUL Christ! Jěžiši! The band is leaving the office. One of Kapela odchází z kanceláře. Někdo them throws a rock into the window from z nich hodí z ulice do okna kámen. the street. FREDDIE FREDDIE You can take that out of our royalties! Můžete nám to strhnout z honorářů. FREDDIE FREDDIE Twat! Debile! RAY FOSTER RAY FOSTER Wanker! Zmrde! ROGER ROGER You can shove your gold disks! Můžeš tam strčit ty svý zlatý desky! BRIAN BRIAN You made a mistake, Foster! Udělal jste chybu Fostere! JOHN JOHN Arsehole! Kreténe! RAY FOSTER RAY FOSTER
61
You’ll never have a gold disk you Vy nikdy nebudete mít zlatou desku, vy medium talent! And to think I worked průměrní talenti. A něco k zamyšlení, with Hendrix. pracoval jsem s Hendrixem.
CAPITAL RADIO RÁDIO CAPITAL KENNY KENNY In the studio today, singer Frederick Dnes ve studiu, zpěvák Frederick Mercury! So what have you got today Mercury! Tak co pro nás dneska máš? for us? Have you got a little taste of the Máš malou ochutnávku z nové new record? nahrávky? FREDDIE FREDDIE I’m really not supposed to. Opravdu bych neměl. KENNY KENNY Oh, forbidden fruit? Don’t tempt me! Ó, zakázané ovoce? Nepokoušej mě! “I’m in Love with My Car”! „I’m in Love with My Car“! FREDDIE FREDDIE Other side. Z druhé strany. KENNY KENNY “Bohemian Rhapsody”. „Bohemian Rhapsody“. MARY MARY I didn’t know Freddie knew Kenny so Nevěděla jsem, že se Freddie zná s well. Kennym tak dobře.
FREDDIE FREDDIE The BBC won’t play it. Nor did I. In fact, BBC to odmítá zahrát. A já taky. Vlastně no one will play it on the radio, so EMI to nikdo v rádiu nezahraje, takže to won’t release it. nahrávací studio nevydá. KENNY KENNY What’s wrong with this song? Co je špatnýho na této písničce? FREDDIE FREDDIE Nothing’s wrong with it at all. Except Není na ní vůbec nic špatnýho. Až na to, that it’s six minutes long. že je dlouhá šest minut. KENNY KENNY
62
Six minutes? Šest minut? FREDDIE FREDDIE You’d have to be mad to play it. Oh, Musel bys být blázen, abys to pustil. you’d have to be bonkers. I positively Musel bys být cvok. Rozhodně to forbid it. zakazuju. KENNY KENNY Let’s hear it. Ladies and ladies, a Capital Tak si to poslechneme. Dámy a dámy, Radio exclusive for the first time ever Rádio Capital exkluzivně poprvé Bohemian Rhapsody! v historii Bohemian Rhapsody! CONCERT KONCERT PAUL PAUL How much do they love him? Can’t get Jak moc ho zbožňují? Nemůžou se enough. nabažit. Freddie is making a phone call to Mary. Freddie telefonuje s Mary. FREDDIE FREDDIE Tom, Jerry, can you hear me? Tome, Jerry, slyšíte mě? MARY MARY Freddie, when do I get to see you? Freddie, kdy tě uvidím? FREDDIE FREDDIE I’ll be home soon, darling. Will you put Brzo budu doma, drahoušku. Dáš Romea Romeo on the phone so I can tell him I k telefonu, abych mu mohl říct, že se mi miss him? po něm stýská. MARY MARY Do you miss me? A stýská se ti po mě? FREDDIE FREDDIE What a stupid question. Of course I do. To je ale hloupá otázka. Samozřejmě, že jo. MARY MARY I love you. Miluju tě. FREDDIE FREDDIE Good night. Dobrou noc. HOTEL ROOM HOTELOVÝ POKOJ PAUL PAUL
63
Morning, boss. Dobrej, šéfe. FREDDIE FREDDIE Clean this mess up and get rid of your Ukliď ten binec a zbav se svého přítele. friend. PAUL PAUL Get dressed. Obleč se. FREDDIE’S AND MARY’S BYT FREDDIEHO A MARY APARTMENT FREDDIE FREDDIE According to Brian, it was the largest Podle Briana to bylo největší platící paying audience in history. The whole publikum v historii. Celou noc jsem night, I didn’t know if they understood a nevěděl, jestli rozumí jediné věci, co thing I was saying. And then, they’re all říkám. A pak… Všichni zpívají. Tisíce singing. Thousands of them. All singing z nich. Všichni zpívají pro tebe. Protože to you. Because it’s true. je to pravda. MARY MARY Freddie, what’s wrong? Something’s Freddie, co se děje? Něco se děje už been wrong for a while now. Say it. Say nějakou dobu. Řekni to. Řekni to. it. FREDDIE FREDDIE I’ve been thinking about it a lot. I think Hodně jsem o tom přemýšlel. Myslím, že I’m bisexual. jsem bisexuál. MARY MARY Freddie, you’re gay. I’ve known for a Freddie, ty jsi gay. Vím to už nějakou while now. I just didn’t want to admit it. dobu. Akorát jsem si to nechtěla přiznat. It’s funny, really. This is what I always Je to vážně komické. To je to, s čím se settle for. “I love you, but...” “I love you, vždy musím spokojit. Miluji tě, ale…“ Mary, but I need space.” “I love you, „Miluji tě Mary, ale potřebuju prostor.“ Mary, but I’ve met someone else.” And „Miluji tě Mary, ale potkal jsem někoho now, “I love you, but I’m...” And this is jiného.“ A teď, „miluji tě, ale jsem…“ A the hardest because it’s not toto je nejtěžší, protože to není ani tvoje even your fault. chyba. FREDDIE FREDDIE
64
No, don’t take it off. Don’t take it off. Ne, nesundávej ho. Nesundávej ho. You promised me you’d never take it Slíbila jsi mi, že ho nikdy nesundáš. off. MARY MARY What do you want from me? Co ode mě chceš? FREDDIE FREDDIE Almost everything. I want you in my Skoro všechno. Chci tě mít ve life. svém životě. MARY MARY Why? Proč? FREDDIE FREDDIE We believe in each other. And that’s Věříme v sebe. A to je pro nás to everything. For us. nejdůležitější MARY MARY Your life is going to be very difficult. Budeš to mít v životě hodně těžké. GARDEN LODGE GARDEN LODGE FREDDIE FREDDIE What do you think? Co na to říkáš? ROGER ROGER Gay-er? Teploušský? FREDDIE FREDDIE Not this, darling, the house. Isn’t it Ne toto, drahoušku, ale dům. Není amazing? Mary’s already moved in next úžasnej? Mary se už přestěhovala vedle, door, so she can visit the cats and me. takže může navštěvovat kočky i mě. ROGER ROGER Uh-huh. Hm. FREDDIE FREDDIE Each cat will have his own room. Každá kočka bude mít svůj vlastní pokoj. Delilah’s by the kitchen, Miko’s next Delilahin je u kuchyně, Mikův vedle, door, Tiffany, Oscar, Romeo, all Tiffany, Oscar, Romeo, všichni nahoře. upstairs. Lilly’s room is even larger than Lillyin pokoj je dokonce větší než tento. this one! Spoilt thing. Zhýčkanost. ROGER ROGER
65
Well, I’m not sure the echo is quite No, nejsem si jistej, jestli je ozvěna dost pronounced enough. výrazná. FREDDIE FREDDIE Eh-oh! Oh, I knew you’d appreciate it. É-o! Věděl jsem, že ty to oceníš. Zůstaň Stay for dinner. Anything you fancy. na večeři. Cokoli, na co máš chuť. ROGER ROGER I can’t. Wife, kids, you know. Nemůžu. Žena, děti, chápeš. FREDDIE FREDDIE Of course. Well, come on. We’ll eat off Samozřejmě. Ale, no tak. Najíme se the floor. It’s clean enough. z podlahy. Je čistá dost. ROGER ROGER Another time, Fred. Jindy, Frede. Freddie is making a phone call to Mary. Freddie telefonuje s Mary. MARY MARY Hello? Prosím. FREDDIE FREDDIE Mary. Mary. MARY MARY Hi. Ahoj. FREDDIE FREDDIE Hello, my love. Ahoj lásko. MARY MARY Hi. Ahoj. FREDDIE FREDDIE I need you to do something for me. But Potřebuju, abys pro mě něco udělala. Ale you can’t ask any questions. nesmíš se na nic ptát. MARY MARY Freddie, what are you doing this time? Freddie, co to zase děláš? FREDDIE FREDDIE No, I just told you. You can’t ask any Ne, zrovna jsem ti řekl, že se nesmíš na questions. nic ptát. MARY MARY Right. Dobře.
66
FREDDIE FREDDIE I want you to go to your bedroom Chci, abys šla k oknu v ložnici. Podívej window. Look out of it. Do you see me? se ven. Vidíš mě? MARY MARY Yes, I do see you. Ano, vidím tě. FREDDIE FREDDIE Now, you do the same. Oh. Keep yours Teď udělej to stejný. Jé. Nech svoje on. Come have a drink. rozsvícený. Přijď na skleničku. MARY MARY Now? Teď? FREDDIE FREDDIE Right now. Ano, teď. MARY MARY It’s late, Freddie. Už je pozdě, Freddie. FREDDIE FREDDIE Come on. Please. Do you have No tak. Prosím. Máš něco k pití? something to drink? MARY MARY I suppose. Asi ano. FREDDIE FREDDIE Go get it. Pour yourself something. Pour Běž si pro to. Nalij si něćo. Nalij s něco yourself a drink, darling. Do you have it? k pití, drahoušku. Máš to? MARY MARY Yes. Ano. FREDDIE FREDDIE Cheers. Na zdraví. MARY MARY Cheers. Na zdraví. FREDDIE FREDDIE To you, my love. Na tebe, lásko. MARY MARY To you, Freddie. Na tebe, Freddie. FREDDIE FREDDIE
67
Good night. Dobrou noc. MARY MARY Good night. Dobrou. Freddie is making a phone call to Paul. Freddie volá Paulovi. PAUL PAUL Hello? Prosím? FREDDIE FREDDIE Paul. Paule. PAUL PAUL Freddie? Freddie? FREDDIE FREDDIE Sweetheart, I want to throw a party. Zlato, chci uspořádat večírek. PAUL PAUL Okay. Who do you want to invite? Dobře. Koho chceš pozvat? FREDDIE FREDDIE People. I want you to shake the freak tree Lidi. Chci, abys zatřásl stromem bláznů and invite anyone who plops to the a pozval každýho, kdo žuchne na zem. ground. Dwarfs and giants, magicians, Trpaslíky a obry, kouzelníky, Zulu tribesmen, contortionists, fire domorodce z kmene Zulu, hadí ženy, eaters, and priests. We’re going to need polykače ohně a kněze. Budeme se muset to confess. vyzpovídat. GARDEN LODGE/Party GARDEN LODGE/Večírek FREDDIE FREDDIE Fill me up, will you, Trixie? Doliješ mi, Trixie? JOHN JOHN Marvelous, Fred! You’ve outdone Báječný, Frede! Překonal ses! yourself! FREDDIE FREDDIE Thank you, John. I’m so glad you love Děkuji, Johne. Jsem tak rád, že se ti to it! Mmm. They say money can’t buy líbí! Drahoušci, říká se, že za peníze si happiness, darlings! But it does allow štěstí nekoupíš. Ale můžeš ho rozdávat! you to give it away! JOHN REID JOHN REID
68
I see you and Paul are getting along quite Vidím, že s Paulem vycházíte docela well. dobře. FREDDIE FREDDIE He’s Trixie now ‘cause he’s always up On je teď Trixie, protože má vždycky to something. něco za lubem. BRIAN BRIAN So, tell me, Rog., what’s the sexiest part Tak, řekni mi, Rogi, která část auta je of a car? nejvíc sexy? WOMAN ŽENA Ah! Á! FREDDIE FREDDIE Well, well, well! No, no, no! BRIAN BRIAN Ah, your majesty! Vaše veličenstvo! FREDDIE FREDDIE No, I’m not her majesty! We’re her Ne, nejsem její veličenstvo! My jsme její majesty, darlings! Cheers! veličenstvo, drahoušci! Na zdraví!
BRIAN BRIAN Cheers! Na zdraví! ROGER ROGER Cheers! Na zdraví! JOHN JOHN Cheers! Na zdraví! FREDDIE FREDDIE Thank you, my loves! Rog. Where’s Děkuji vám, miláčkové! Rogi. Kde je Mary? Mary? BRIAN BRIAN It’s not exactly her scene, is it, Freddie? Toto není úplně její parketa, že ne, Freddie? FREDDIE FREDDIE Hmm. Fabulous, isn’t it? Hmm. Báječný, že? BRIAN BRIAN
69
If you say so. Když to říkáš. PAUL PAUL Hm. Hm. BRIAN BRIAN You’re starting to look like each other. Začínáte se jeden druhýmu podobat. PAUL PAUL What’s wrong with that, Brian? O co ti jde, Briane? BRIAN BRIAN You’re supposed to be in a rock band, Ty máš být v rokové kapele, Freddie. Ne Freddie. Not the Village People. v nějaký disco kapele. FREDDIE FREDDIE You might want to think about cutting Možná bys chtěl popřemýšlet nad tím, your hair one day. jestli si jednou ostříháš vlasy. BRIAN BRIAN Never. I was born like this. Nikdy. Takto jsem se narodil. FREDDIE FREDDIE Come on! Let’s dance! No tak! Jdem tančit! PAUL PAUL Yes! Jo! BRIAN BRIAN I don’t dance, Freddie. Netančím, Freddie. JOHN JOHN I need a few more of these for that. Na to jich potřebuju trochu víc. FREDDIE FREDDIE It’s my party, and I demand you dance! Je to moje párty a já vyžaduju, abyste tančili! ROGER ROGER We should go. Měli bychom jít. FREDDIE FREDDIE By royal decree! Z královského nařízení! BRIAN BRIAN We’re gonna go, actually. My už asi půjdeme. FREDDIE FREDDIE
70
Oh, God! You’re dull. If you were any Bože můj! Ty jsi nudnej. Kdybys byl o more dull, you’d be Deacy. něco nudnější, byl bys Deacy. ROGER ROGER What are you complaining about? Na co si stěžuješ? Máš tady svýho You’ve got your little pet. malýho mazlíčka. FREDDIE FREDDIE I have, and he’s loyal. Loyalty’s so Mám a je věrný. Věrnost je tak důležitá. important. Don’t you think, Dominique? Nemyslíš, Dominique? ROGER ROGER Careful, Fred. Let’s go. Opatrně, Frede. Jdeme. FREDDIE FREDDIE Where you going? Kam jdete? ROGER ROGER Home. Domů. FREDDIE FREDDIE Just a joke. Jenom vtip. BRIAN BRIAN Freddie, sometimes you’re a total prick. Freddie, někdy jsi naprostej čúrák. CHRISSIE CHRISSIE Good night. Dobrou noc. FREDDIE FREDDIE Brian. Briane. PAUL PAUL Forget them. Come on! Your guests are Zapomeň na ně. No tak! Tvoji hosté waiting. They all want a little Mercury čekají. Všichni chtějí malýho Mercuryho in their cup. Come on. v kelímku. Pojď. FREDDIE FREDDIE All right! My darlings, the time has Dobře! Drahoušci, přišel konečně ten čas finally come to get absolutely shit-faced! se naprosto ztřískat! GUESTS HOSTÉ Whoo! Juchů! PAUL PAUL Senor, where’s my marching powder? Seňore, kde je můj kouzelný prášek?
71
GARDEN LODGE/After party GARDEN LODGE/Po večírku Freddie is touching Jim. Freddie osahává Jima. JIM JIM You’ve got a set of balls. Ty máš teda koule. FREDDIE FREDDIE Go fetch me a drink and find out. Skoč mi pro něco na pití a přesvědč se. JIM JIM I may work for you tonight, but put your Dnes večer pro tebe možná pracuju, ale hands on me again, and I’ll thump you. ještě jednou na mě sáhneš a rozbiju ti Got it? hubu. Jasný? FREDDIE FREDDIE I’m terribly sorry. I didn’t mean to Je mi to strašně líto. Nechtěl jsem vás offend you. I’m sorry. I won’t do that urazit. Je mi to líto. Už to znovu again, all right? Let me get you a beer. neudělám, dobře? Můžu vám přinést pivo? JIM JIM I wouldn’t mind a beer. Pivo bych si dal. FREDDIE FREDDIE Can you just tell me where we keep Můžete mi jenom říct, kde je máme? Jste them? You’re very handsome. I love a velmi pohledný. Líbí se mi muž man in uniform. v uniformě. JIM JIM So do I. Mně taky. JIM JIM So, all your friends have left you alone. Takže, všichni přátele tě opustili. FRIENDS FREDDIE They’re not my friends. Not really. Just Nejsou to moji přátelé. Ne tak úplně. distraction. Jenom rozptýlení. JIM JIM From what? Od čeho? FREDDIE FREDDIE The in-between moments, I suppose. I Myslím, že od těch prázdných cvhílí. find them intolerable. All of the darkness Nedají se vydržet. Všechna ta temnota, o
72 you thought you left behind comes které sis myslel, že je pryč, se vkrádá creeping back in. zpět. JIM JIM I know what you mean. Vím, o čem mluvíš. FREDDIE FREDDIE Really? What is it that you do with Vážně? A co s nimi děláš? them? JIM JIM Spend them with real friends. You look Strávím je se skutečnými přáteli. like you could use a friend. Vypadáš, že bys potřeboval přítele. FREDDIE FREDDIE I like you. Mám tě rád. JIM JIM I like you, too, Freddie. Come and find Taky tě mám rád, Freddie. Vyhledej mě, me when you decide you like yourself. až se rozhodneš, že máš rád i sebe. FREDDIE FREDDIE Can I have your name at least? Můžeš mi říct alespoň své jméno? JIM JIM It’s Jim Hutton. Jsem Jim Hutton. FREDDIE FREDDIE Good night, Jim. Dobrou noc, Jime. JIM JIM Good night, Freddie. Or should I say Dobrou noc, Freddie. Nebo bych měl říct good morning? dobré ráno? REHEARSAL STUDIO ZKUŠEBNA ROGER ROGER I want a new boat. Chci novou loď. DOMINIQUE DOMINIQUE This one is for me. This one. Tato je pro mě. Tato. JOHN JOHN Didn’t you say we were going to see Neříkal jsi, že ho uvidíme? him? VERONICA VERONICA
73
I’ve got an hour left. Mám už jenom hodinu. ROGER ROGER Wait. What about this one? Počkej. A co tato? DOMINIQUE DOMINIQUE No, I think we’ll still make that. Ne, myslím, že to ještě dáme. ROGER ROGER It’s a good size. To je dobrá velikost. BRIAN BRIAN Screw him. Everyone up on the drum Seru na něho. Všichni nahoru k bicím! risers! Up on the drum risers. Nahoru k bicím. CHRISSIE CHRISSIE Come on! Pojďte! BRIAN BRIAN Thank you, Chrissie. Showing some Díky, Chrissie. Pojevuješ nadšení. enthusiasm. JOHN JOHN Wives and everyone, Brian? Manželky a všichni, Briane? VERONICA VERONICA Me? Já? BRIAN BRIAN Yes! Come on, John. Everyone. I’m not Ano! No tak, Johne. Všichni. Dýl už waiting any longer. Let’s go. Get up. čekat nebudu. Pojďme. Vstávejte. JOHN JOHN Bass? Basu? BRIAN BRIAN No, you don’t need it. Get up. Ne, nebudeš ji potřebovat. Vstávej. ROGER ROGER Come on, Rog, take your time. All right. No tak, Rogi, dej si na čas. Dobře. O co What’s this about? jde? BRIAN BRIAN You remember our last concert? The Vzpomínáte si na náš poslední koncert? crowd were singing our songs back to Publikum zpívalo naše písničky us. I mean, it was deafening, but it was současně s námi. Tím myslím, bylo to
74 wonderful. They’re becoming a part of sice ohlušující, ale i tak skvělý. Stávají se our show. I want to encourage that, so součástí naší show. Chci je povzbudit, I’ve got an idea to involve them a little takže mám nápad, jak je o něco víc bit more. Let’s start with this. Stamp to zapojit. Začneme s tímto. Dupněte na this beat. tuto dobu. JOHN JOHN Genius. Geniální. BRIAN BRIAN Thank you, John. Come on. Děkuji ti, Johne. No tak. Everybody is stamping along. Všichni dupou do rytmu. BRIAN BRIAN Good. Now, I want you to clap on the Dobrý. Teď chci, abyste tleskli na třetí third beat. dobu. ROGER ROGER Don’t speed up. Nezrychlujte. BRIAN BRIAN Rog, keep that time. No Prenter? It’s Rogi, drž to tempo. Žádnej Prenter? Je unusual to see you without your clone. neobvyklý tě vidět bez tvýho klonu. FREDDIE FREDDIE It’s unusual seeing you be so bitchy. Je neobvyklý vidět tě takto jízlivýho. JOHN JOHN It’s usually me. Obvykle to bývám já. BRIAN BRIAN Ah, you kept time, Rog. Good. Udržel jsi tempo, Rogi. Super. FREDDIE FREDDIE What’s going on? O co jde? ROGER ROGER You’d know if you were on time. Kdybys přišel včas, tak bys to věděl. FREDDIE FREDDIE I’m a performer, darling, not a Swiss Jsem umělec, drahoušku, ne průvodčí ve train conductor. Sorry I’m late. švýcarským vlaku. Omlouvám se, že jdu pozdě. JOHN JOHN
75
Again. Zase. FREDDIE FREDDIE All right. Now, will you please tell me Dobře. A teď mi prosím řekněte, proč why you’re not playing any instruments? nehrajete na žádné nástroje? BRIAN BRIAN I wanna give the audience a song that Chci dát publiku písničku, kterou they can perform. All right? Let them be zvládnou samy. Jasný? Nechat je být part of the band. So, what can they do? součástí kapely. Tak co můžou udělat? Brian resumes rhythmic stamping and Brian pokračuje v rytmickém dupání a clapping. tleskání. BRIAN BRIAN Imagine, thousands of people doing this Představ si tisíce lidí, jak toto dělají in unison. Huh? Well? současně. Hm? No? FREDDIE FREDDIE What’s the lyric? Jakej je text? CONCERT/Band is playing “We Will KONCERT/Kapela hraje „We Will Rock Rock You”. You“. FREDDIE FREDDIE Singin’ Yeah! All right! I feel like taking Zpívejte! Jo! Dobře! Mám chuť si a bite out of the Big Apple! Who wants ukousnout kousek z toho Velkýho to take a bite out of me? All right, play Jablka! Kdo si chce ukousnout kousek ze with me now. Eh-oh! mě? Dobře, teď se mnou hrajte. É-o! CROWD DAV Eh-oh! É-o! FREDDIE FREDDIE Eh-oh! É-o! CROWD DAV Eh-oh! É-O! JOHN REID JOHN REID Never seen anyone interact with a crowd Nikdy jsem neviděl nikoho pracovat like that. takhle s publlikem. AFTER THE CONCERT PO KONCERTĚ PAUL PAUL
76
Bigger than any band, don’t you think? I Větší než jakákoliv kapela, nemyslíš? mean, Queen. How long can that last? Tím myslím Queen. Jak dlouho to může trvat? JOHN REID JOHN REID Did he say something to you? Říkal ti něco? PAUL PAUL Not explicitly. But we’ve had some Přímo ne. Ale nahrávací studio CBS by interest from CBS Records about a solo mělo zájem o sólo spolupráci. deal. Prenter passes a paper with a sum of Prenter podá Reidovi papír s částkou. money to Reid. JOHN REID JOHN REID Well, that’s a big number. No, to je velké číslo. PAUL PAUL That’s a Freddie-size number. You To je číslo přesně pro Freddieho. A ty should be the one to propose it. bys to měl navrhnout. JIM BEACH JIM BEACH Hi, guys. How’s it going? Ahoj, jak to jde? PAUL PAUL Good. Dobře. JOHN REID JOHN REID Everything’s great. Všechno je skvělé. PAUL PAUL John, another drink? Johne, další pití? JOHN REID JOHN REID Er, no, I’m fine. Hm, ne, dobrý. BARTENDER BARMAN Here’s the Coke. Tady je ta Cola. PAUL PAUL Coming right up. Už jdu. MARY MARY Freddie. Freddie. FREDDIE FREDDIE
77
Oh, there you are. Tady jsi. Freddie lifts Mary. Freddie tvedne Mary. MARY MARY Oh, God! Freddie! Put me down! You Bože můj! Freddie! Dej mě dolů! Byl jsi were brilliant. skvělý. FREDDIE FREDDIE Ah, that’s only because I knew you were To jen protože jsem věděl, že se díváš. watching. MARY MARY I’ve missed you. Chyběl si mi. FREDDIE FREDDIE We have so much to catch up on. Oh, Musíme toho hodně dohnat. Děkuju. thank you. MARY MARY This is my boyfriend, David. David, this To je můj přítel, David. Davide, to je is Freddie. Freddie. DAVID DAVID Magnificent show. Skvělá show. FREDDIE FREDDIE Thank you. It’s so kind of you, I Děkuju. To je od vás tak milé, vážím si appreciate it. Thank you so much. toho. Děkuju moc. Kde máš prsten? Where’s your ring? MARY MARY I just didn’t want to travel with Prostě jsem nechtěla cestovat s něčím tak something so valuable. cenným. PAUL PAUL Freddie, there are some people here for Freddie, je tady pár lidí, co by tě chtěli you to see. You promised you’d say vidět. Slíbil jsi, že je pozdravíš. hello. FREDDIE FREDDIE Oh, did I? Jo, vážně? PAUL PAUL Mmm-hmm. Hmm.
78
MARY MARY We should go. Will I see you soon? Měli bychom jít. Uvidíme se brzo? FREDDIE FREDDIE Yes, of course. Of course. It’s a pleasure Ano, samozřejmě. Samozřejmě. Moc rád to meet you, David. jsem tě poznal, Davide. DAVID DAVID And you. And well done again. A já tebe. A ještě jednou, dobrá práce. FREDDIE FREDDIE And you. A ty taky. DAVID DAVID Bye. Ahoj. MARY MARY Bye. Ahoj. FREDDIE FREDDIE Thank you for coming such a long way. Děkuju, že jste vážili tak dlouhou cestu. FREDDIE’S CAR FREDDIEHO AUTO JOHN REID JOHN REID Then you’ve got the MTV interview and Pak máš rozhovor s MTV a letadlo do the plane to Houston for the special. Houstonu jen pro důležité. A v pátek Back here on Friday. Listen to me now. nazpět. Teď mě poslouchej. Víš, kdo Do you know who sold 4% of all the minulý rok prodal 4% všech records purchased last year? zakoupených alb? Celosvětově? Michael Worldwide? Michael Jackson. Not the Jackson. Ne Jacksonova 5. Michael Jackson 5. Michael Jackson. And I think Jackson. A myslím, že ty bys to zvládl o you could do even better. In fact, I’ve hodně líp. Vlastně jsem dostal nabídku had an offer from CBS Records. It’s a lot od nahrávacího studia CBS. Měl bys of money for you, Fred, and I think you z toho hodně peněz, Frede. Myslím si, že should consider it. bys to měl zvážit. FREDDIE FREDDIE Are you asking me to break up the band? Chceš, abych rozbil kapelu? JOHN REID JOHN REID I’m just pointing out what awaits you if Jenom ti říkám, co tě očekává, když se you go solo. An end to your frustrations. dáš na sólo dráhu. Konec frustrací.
79
FREDDIE FREDDIE My frustrations? Frustrací? JOHN REID JOHN REID Paul? Paule? PAUL PAUL I don’t know what you’re talking about, Nevím, o čem to mluvíš, Johne. John. JOHN REID JOHN REID Perhaps I misunderstood. Asi jsem to špatně pochopil. Freddie presses a button. Freddie zmáčkne tlačítko. DRIVER ŘIDIČ Yes, sir. Ano, pane. FREDDIE FREDDIE Pull over. Stop the car, pull over. Get Zastavte. Zastavte to auto, zastavte. out. Out now! Vypadni. Hned teď! JOHN REID JOHN REID What the hell? Co sakra? FREDDIE FREDDIE Get out of this car. You’re fired. Vypadni z toho auta. Máš padáka. JOHN REID JOHN REID What’re you talking about, fired? O čem to mluvíš, padáka? FREDDIE FREDDIE I said get out. Řekl jsem, ať vypadneš. JOHN REID JOHN REID Freddie, you are high! Freddie, jsi sjetý! FREDDIE FREDDIE I said get out! Řekl jsem, ať vypadneš! JOHN REID JOHN REID What are you talking about? O čem to mluvíš? FREDDIE FREDDIE Out! Out or I’ll kill you! Get out, you Ven! Ven, nebo tě zabiju! Vypadni, ty treacherous piss flap. proradnej zmrde. JOHN REID JOHN REID
80
You’re not thinking clearly. Nemyslí ti to jasně. FREDDIE FREDDIE Get your ass out of my car now. Get out! Zvedni prdel a vypadni z mýho auta. Out! Get your ass out of my car! Get out! Vypadni! Ven! JOHM REID JOHN REID You’re firing the wrong snake. You’ll Vyhazuješ špatného hada. Budeš toho regret it. litovat. FREDDIE FREDDIE Get your ass out of here! Drive! Zvedni prdel a vypadni! Jeďte! Reid is standing in the middle of the Reid stojí uprostřed ulice. street. MAN MUŽ Hey! What the hell? Move! Hej! Co to sakra? Uhni? MAN 2 MUŽ 2 Hey, watch it! I’ll run your ass over! Hej, pozor! Přejedu ti prdel!
MAN 3 MUŽ 3 Move! Hni se! FREDDIE FREDDIE Did you know anything about this? Věděl jsi o tom něco? PAUL PAUL I warned him against it. Pure greed. Varoval jsem ho před tím. Čirá závist. FREDDIE FREDDIE Tried to break up my family. Snažil se mi rozbít rodinu. PAUL PAUL We can manage the band. We don’t need Můžeme řídit kapelu. Nepotřebujem ho. him. FREDDIE FREDDIE What do you know about what I need? Co ty víš, co já potřebuju? PAUL PAUL I know what it’s like not to belong. A Vím, jaký to je nezapadat. Teplej queer Catholic boy from Belfast. You katolickej kluk z Belfastu. Chápeš. know I think my father would rather see Myslím, že by mě můj otec viděl radši
81 me dead than let me be who I am. I’m mrtvýho, než aby mě nechal takovýho gonna take care of you now, Freddie. If jakej jsem. Já se o tebe postarám, you’ll let me. Freddie. Když mi to dovolíš. BULSARA’S HOUSE DŮM BULSARŮ Bomi is reading an article about Bomi si čte článek o Freddiem. Freddie. JER JER What are you reading? Co čteš? BOMI BOMI Just the cricket. Jenom výsledky z kriketu. REHEARSAL STUDIO ZKUŠEBNA ROGER ROGER We’re a rock and roll band. We don’t do Jsme rokenrolová kapela. Neděláme disco. disco. JOHN JOHN It’s not disco. To není disco. BRIAN BRIAN Then what is it? Tak co to je? JOHN JOHN It’s Queen. To je Queen. FREDDIE FREDDIE So sorry, my darlings! Lost all track! Omlouvám se drahoušci. Ztratil jsem pojem o čase. ROGER ROGER You fired Reid without consulting us! Ty jsi vyhodil Reida, aniž bys to s námi You don’t make decisions for the band. probral! Ty nerozhoduješ za kapelu. BRIAN BRIAN Hey. Hej. FREDDIE FREDDIE Well, I’m terribly sorry, dear. It’s done. No, je mi to strašně líto, drahý. Ale už to Besides, Miami will manage us. Won’t tak je. Mimoto, Miami nám bude dělat you, darling? manažera. Co ty na to drahoušku? JIM BEACH JIM BEACH
82
Erm. I’ll think about it. Ehm. Budu nad tím přemýšlet. FREDDIE FREDDIE No. Ne. BRIAN BRIAN Are you high again? Jsi zase sjetej? FREDDIE FREDDIE Well done, Columbo. Velmi dobře, Columbo. BRIAN BRIAN You need to slow down, Fred. Musíš přibrzdit, Frede. FREDDIE FREDDIE Oh, don’t be such a bore. I’m here, aren’t Nebuď takovej suchar. Jsem tady, nebo I? ne? BRIAN BRIAN Are you? A jsi? JOHN JOHN I don’t care if you’re shit-faced. As long Nezajímá mě, jestli jsi na sračky. Dokud as you can sing. budeš schopnej zpívat. ROGER ROGER No, John, I don’t wanna play it. Ne, Johne. Já to nechci hrát. FREDDIE FREDDIE Then I’m all for it. Pak já jsem pro všemi deseti. ROGER ROGER What’s that supposed to mean? Co to má znamenat? FREDDIE FREDDIE I’m tired of the bloody anthems. I want Jsem unavenej z těch našich popěvků. the energy in the clubs. The bodies, I Chci energii z klubů, těla. Chci, aby se want to make people move. lidi hýbali. BRIAN BRIAN You mean disco? Myslíš disco? PAUL PAUL Why not? Proč ne? BRIAN BRIAN Neser se do nás. Toto je diskuze kapely.
83
Do you mind pissing off? This is a band discussion. ROGER ROGER Drum loops? Synthesizers? Bicí automat? Syntetizátory? FREDDIE FREDDIE If you say so. Když to říkáš. ROGER ROGER It’s not us! To nejsme my! FREDDIE FREDDIE Us? My? ROGER ROGER It’s not Queen! To není Queen! FREDDIE FREDDIE Queen is whatever I say it is! Queen je cokoliv, co řeknu! ROGER ROGER Well, you can play your own bloody No, tak si na ty blbý bicí hraj sám. drums, then. BRIAN BRIAN Fred. Frede. ROGER ROGER Okay, let’s see how good a boxer you Dobře. Uvidíme, jak moc dobrej boxer really are! jsi. BRIAN BRIAN Roger, take it easy! Take it easy! Rogere, v klidu! V klidu! V klidu. Take it easy. BRIAN BRIAN All right, Muhammad Ali. That’s... To by stačilo, ty boxere. To je… To je That’s quite a cool riff, actually. docela dobrej rytmus. FREDDIE FREDDIE Hmm. You wrote that? That’s really Hmm. To jsi napsal? To je opravdu good. dobrý. JOHN JOHN Yes, it will be if you all can
84 just shut up and play. Jo, bude, pokud všichni zavřete huby a budete hrát. FREDDIE FREDDIE He started it. On si začal. BRIAN BRIAN Oh, shut up! Už drž hubu! John resumes playing the riff for John pokračuje ve hraní rytmu k “Another One Bites The Dust”. „Another One Bites The Dust“. JIM BEACH JIM BEACH Okay, I’ll do it. I’ll do it. Dobře, udělám to. Udělám to. JOHN JOHN Oh, just improvise. Just give it whatever Prostě improvizuj. Prostě tomu dej you want. cokoli chceš. FREDDIE FREDDIE I can do that. That’s a good idea. To můžu udělat. To je dobrej nápad. PRESS CONFERENCE TISKOVÁ KONFERENCE REPORTERS REPORTÉŘI Freddie! Freddie! Freddie! Freddie! REPORTER 1 REPORTÉR 1 Freddie, as the leader of Queen, as the Freddie, jako hlavní člen Queenů, jako leader of Queen do you feel responsible hlavní člen Queenů, cítíte se být for the success of the band? zodpovědný za úspěch kapely? FREDDIE FREDDIE I’m not the leader of Queen, I’m only the Já nejsem hlavní člen Queen, jsem jenom lead singer. hlavní zpěvák. REPORTERS REPORTÉŘI Freddie! Freddie! REPORTER 2 REPORTÉR 2 A question for Freddie. Do you ever Otázka pro Freddieho. Pochybujete doubt your talent? někdy o svém talentu? FREDDIE FREDDIE No, that’s a stupid question. Ne, to je hloupá otázka. BRIAN BRIAN
85
Take it easy, Fred. V klidu, Frede. FREDDIE FREDDIE What’s next? Co dál? REPORTER 3 REPÓRTÉR 3 Freddie, uh, your teeth! Why don’t you Freddie, hm, vaše zuby! Proč si je get your teeth fixed? nenecháte zpravit? FREDDIE FREDDIE I live in Britain. I don’t want to stand Žiju v Británii. Nechci vyčnívat. out. BRIAN BRIAN Next... Další… FREDDIE FREDDIE Why don’t you have your manners Proč si nenecháte zpravit vaše chování? fixed? That’s an asshole question to ask To je fakt kreténská otázka. anybody. BRIAN BRIAN That’s an asshole question. To je kreténská otázka. REPORTER 4 REPORTÉR 4 In your song “Life Is Real”, what do you Ve vaší písni „Life Is Real“, co myslíte mean by the line “Love is a roulette tou částí „Láska je jako ruleta“? wheel”? Are you implying that the more Naznačujete tím, že čím víc partnerů partners you have, the more chances you máte, tím více šancí máte zavázat se have of contracting something? k něčemu? FREDDIE FREDDIE What? I don’t know. I haven’t figured Co? Nevím. Zatím jsem lásku out love yet. nepochopil. REPORTER 4 REPORTÉR 4 But it implies something else, Freddie. Ale naznačuje to něco jinýho, Freddie FREDDIE FREDDIE That might be a better question for Rog. To by možná byla lepší otázka pro Roge. ROGER ROGER Watch it. Bacha. REPORTER 1 REPORTER 1
86
Freddie, concerning your private life, Freddie, co se týče vašeho soukromého there’s lots of pictures of you in the života, objevuje se hodně vašich fotek, tabloids looking drunk or ill. kde vypadáte opile nebo nemocně. FREDDIE FREDDIE Which one is it, ill or drunk? Které to jsou, kde vypadám nemocně nebo opile? JOHN JOHN I had a cold last week if anyone cares. Minulý týden jsem měl rýmu, jestli to někoho zajímá. BRIAN BRIAN As much as we’d love to answer Stejně tak jak bychom vám rádi questions about colds, I’d like to speak odpověděli na otázky o rýmách, rád bych about the album. If anyone’s got any mluvil o albu. Jestli má někdo nějaké questions about the music? otázky k hudbě? REPORTERS REPORTÉŘI Freddie! Freddie! Freddie! Freddie! Freddie! Freddie! Freddie! Freddie! REPORTER 5 REPORTÉR 5 Freddie, your parents, they’re Freddie, vaši rodiče jsou konzervativní conservative Zoroastrians. I wonder, Zoroastriani. Zajímalo by mě, jak berou what do they make of your public vaší veřejnou postavu? persona? BRIAN BRIAN Is that music... To je hudba… FREDDIE FREDDIE My parents died in a fiery wreck. Moji rodiče umřeli v hořících troskách. REPORTER 5 REPORTÉR 5 I happen to know that’s not true, is it? I Náhodou vím, že to není pravda, že ne? just wanted to know whether they were Jenom jsem chtěl vědět, zda jsou na vás proud of you. pyšní. FREDDIE FREDDIE Are your parents proud of you? Is this A vaši rodiče jsou na vás pyšní? Je to to, what they hoped for? v co doufali? REPORTER 5 REPORTÉR 5
87
I hope that they are. Doufám, že jsou. FREDDIE FREDDIE I surely don’t think so. To si fakt nemyslím. BRIAN BRIAN Anyone wanna talk about the album? Chce někdo mluvit o tom albu? REPORTERS REPORTÉŘI Freddie! Freddie! Freddie! Freddie! Freddie! Freddie! SHELLEY STERN SHELLEY STERN Could you answer my questions please? Mohl byste mi prosím odpovědět na otázku? FREDDIE FREDDIE This better be good. Tak aby byla dobrá. MAN MUŽ Shut up! Ticho! SHELLEY STERN SHELLEY STERN Freddie, could you tell us about the Mohl byste nám říct o pomluvách rumors concerning your sexuality? týkajících se vaší sexuality?
FREDDIE FREDDIE What about the rumors concerning your A co pomluvy týkající se nedostatku vaší lack of sexuality? I’m just a musical sexuality? Jsem jenom hudební prostitut, prostitute, my dear. zlato. SHELLEY STERN SHELLEY STERN Can you answer the question? Můžete odpovědět na otázku? FREDDIE FREDDIE What’s your name, dear? Jak se jmenujete, zlato? SHELLEY STERN SHELLEY STERN Shelley Stern. Shelley Stern. FREDDIE FREDDIE Shelley. Shelley. SHELLEY STERN SHELLEY STERN Yes. Ano. FREDDIE FREDDIE
88
That thing between your legs, does it Ta věc mezi vašema nohama, kouše? bite? REPORTER 3 REPORTÉR 3 Hah! Ha! SHELLEY SHEL LEY Could you answer the question, please? Mohl byste odpovědět na otázku, prosím. JOHN JOHN We’re here as a courtesy. Jsme tady ze slušnosti. FREDDIE FREDDIE You know, there’s four of us up here. Chápete, jsme tady čtyři. SHELLEY SHELLEY What are you afraid of, Freddie? Čeho se bojíte, Freddie? FREDDIE FREDDIE What do you want? What is the truth? Co chcete? Jaká je pravda? SHELLEY SHELLEY Can you be honest for once? Můžete být alespoň jednou upřímný? REPORTER 1 REPORTÉR 1 Why are you lying about your parents, Freddie, proč lžete o svých rodičích? Freddie? FREDDIE FREDDIE I’m not lying about anything. I just, Já nelžu o ničem. Já jenom, já jsem… I’m... REPORTER 1 REPORTÉR 1 Your fans deserve to know the truth, Vaši fanoušci se zaslouží znát pravdu, Freddie. Freddie. SHELLEY STERN SHELLEY STERN Can you answer the question, please? Můžete odpovědět na otázku, prosím? FREDDIE FREDDIE This my business is my business. Tato věc je jenom moje věc. REPORTER 4 REPORTÉR 4 No, you’re a public figure. Ne, jste veřejná postava. SHELLEY SHELLEY What are you afraid of, Freddie? Čeho se bojíte, Freddie?
89
REPORTER 2 REPORTÉR 2 Your parents? Vaši rodiče? REPORTER 5 REPORTÉR 5 Can you tell us about... Můžete nám říct o… SHELLEY STERN SHELLEY STERN Your sexuality? Vaší sexualitě? FREDDIE FREDDIE What? Why, why... Co? Proč, proč… SHELLEY STERN SHELLEY STERN Can you just be honest? Můžete být prostě upřímný? REPORTER 5 REPORTÉR 5 Contracting something. Your fans Kolem a kolem. Vaši fanoušci si zaslouží deserve to know the truth. znát pravdu. REPORTER 2 REPORTÉR 2 Our readers want to know. Naši čtenáři chtějí vědet. FREDDIE FREDDIE What do your readers want to know? Co chtějí vaši čtenáři vědět? No, co chtějí They want to know what? vědět? The band is shooting video “I Want To Kapela natáčí videoklip „I Want To Break Free”. Break Free“. ROGER ROGER Can I get up now? What is happening? Můžu teď vstát? O co jde? JOHN JOHN No, you can’t. Ne, nemůžeš. BRIAN BRIAN I wanna be in it. Chci v tom být. JOHN JOHN Get off me! Slez ze mě! GARDEN LODGE GARDEN LODGE Paul is knocking on the bathroom door. Paul ťuká na dveře koupelny. PAUL PAUL Freddie, jsi tam? Freddie? Jsou tady. Nemůžeme to dál odkládat. Freddie?
90
Freddie, you in there? Freddie? They’re here. We can’t put this off any longer. Freddie? The band is discussing. Kapela diskutuje. FREDDIE FREDDIE MTV banned our video. The youth of MTV zakázala naše video. Mládí America. We helped give birth to MTV. Ameriky. Pomáhali jsme zrodu MTV. BRIAN BRIAN It’s America. They’re Puritans in public, To je Amerika. Na veřejnosti jsou to perverts in private. puritáni, v soukromí zvrhlíci. FREDDIE FREDDIE I’m never touring in the U.S. again. And Víckrát už na turné po Americe nejedu. I’m the one being blamed for it. Not you, A já jsem ten, na koho hází vinu. Ne ty dear, whose idea, I believe, it was to drahý, i když jsi vymyslel převléct se do dress up in drag. And not you. Not even kostýmů, teda myslím. Ani ty. Dokonce you, who wrote the bloody thing. No. ani ty ne a to jsi to napsal. Ne. Šílenej Crazy, cross-dressing Freddie. Freddie transka Freddie. Podivín Freddie. Buzna the freak, Freddie the fag. I’m tired of Freddie. Jsem unavenej z turné. Vy ne? touring. Aren’t you? Album, tour, Album, turné, album, turné. Chci dělat album, tour. I want to do something něco jinýho. different. BRIAN BRIAN We’re a band. That’s what bands do. Jsme kapela. To kapely dělávají. Album, Album, tour, album, tour. turné, album, turné. FREDDIE FREDDIE Well, I need a break. I’m sick of it. No, potřebuju pauzu. Mám toho dost. JOHN JOHN What are you saying, Freddie? Co to říkáš, Freddie? FREDDIE FREDDIE I’ve signed a deal with CBS Records. Podepsal jsem smlouvu s nahrávací společností CBS. ROGER ROGER You’ve done what? Cože jsi udělal?
91
BRIAN BRIAN Without telling us? Aniž bys nám o tom řekl? JOHN JOHN What kind of deal? Jakou smlouvu? FREDDIE FREDDIE Look, I’m not saying we won’t record or Dívejte, neříkám, že nebudeme nahrávat ever tour again. Queen will go on. But I nebo, že už nepojdeme na turné. Queeni need to do something different. Do you budou pokračovat. Ale potřebuju dělat know what I mean? I need to grow. něco jinýho. Víte, co myslím? Potřebuju What’s the song? “Fly away ”? růst. Jak je ta písnička? „Fly away“? JOHN JOHN “Spread my wings and fly away.” „Spread my wings and fly away.“ FREDDIE FREDDIE “Spread my wings and fly away.” Přesně. „Roztáhni křídla a odleť.“ BRIAN BRIAN A solo album? Sólo album? PAUL PAUL Two, actually. Back to back. Vlastně dvě. Hned po sobě. ROGER ROGER Another word out of you, and I’ll throw Ještě slovo a vyhodím tě z toho you out the bloody window. zasranýho okna. JOHN JOHN But that’s years, Freddie. I mean, that’ll Ale to jsou roky, Freddie. Tím myslím, take years. že to zabere roky. FREDDIE FREDDIE Ye of little faith. Vy nevěřící. ROGER ROGER I don’t believe this. How much? What Nevěřím tomu. Kolik? Kolik ti zaplatili? did they pay you? I wanna know how Chci vědět, kolik ti zaplatili… much they paid you... FREDDIE FREDDIE $4 million! Čtyři milióny dolarů! JOHN JOHN
92
That’s more than any Queen deal. To je víc než jakákoliv smlouva Queenů.
FREDDIE FREDDIE Look, the routine is killing us. I mean, Dívejte, ta rutina nás zabíjí. Myslím, že you must all want a break from all the vy taky chcete pauzu od těch arguments. I mean, whose song gets on někonečnejch hádek. Tím myslím, čí the album whose song’s the single who píseň se dostane do alba, čí píseň bude wrote what who gets a bigger slice of the singl, kdo napsal co, kdo dostane větší royalties what’s on the B-side, all of it. kousek z honoráře, co je na druhé straně, You must need a break. toho všeho. Určitě potřebujete pauzu. BRIAN BRIAN Freddie, we’re a family. Freddie, jsme rodina. FREDDIE FREDDIE No, we’re not! We’re not a family! Ne, nejsme! Nejsme rodina. Vy máte You’ve got families, children, wives. rodiny, děti, ženy. Co mám já? What have I got? JOHN JOHN You’ve got $4 million. Perhaps you can Máš čtyři milióny dolarů. Můžeš si za to buy yourself a family. koupit vlastní rodinu. FREDDIE FREDDIE I won’t compromise my vision any Už nebudu ustupovat od svých vizí. longer. ROGER ROGER Compromise? Are you joking? You Ustupovat? Děláš si srandu? Pracoval jsi were working at Heathrow before we na letišti, než jsme ti dali šanci. gave you a chance. FREDDIE FREDDIE And without me, you’d be a dentist A beze mě, ty bys byl zubař, co hraje na drumming 12/8-time blues at the bicí pomalej blues o víkendech weekend at the Crown and Anchor. And v nějakým nudným klubu. A ty. No, ty you. Well, you would be Dr. Brian May bys byl Dr. Brian May, autor fascinující author of a fascinating dissertation on dizertační práce na téma vesmír, kterou the cosmos that no one ever reads. And
93
Deacy, for the life of me, nothing comes by nikdo nikdy nečetl. A Deacy, pro to mind. Boha živého nic mě nenapadá. JOHN JOHN I studied electrical engineering. Does Studoval jsem elektroinženýrství. that meet your standard? Odpovídá to tvýmu standardu? FREDDIE FREDDIE Perfect. Úžasný. ROGER ROGER You just killed Queen. Zrovna jsi zabil Queen. FREDDIE FREDDIE Oh, give it a kiss one day. She might Polib ji jeden den. Možná se probudí. wake up. BRIAN BRIAN You need us, Freddie. More than you Potřebuješ nás, Freddie. Víc, než si know. myslíš. FREDDIE FREDDIE I don’t need anyone. Nepotřebuju nikoho. Mary is making a phone call to Freddie. Mary volá Freddiemu. PAUL PAUL Hello? Prosím? MARY MARY Paul. Can I speak to Freddie? Paule. Můžu mluvit s Freddiem? PAUL PAUL Oh, Mary. No, he can’t talk right now. Ó, Mary. Ne, teď nemůže mluvit. Pracuje He’s working day and night, constantly. nepřetržitě ve dne, v noci. MARY MARY Will you make sure to tell him that I Nezapomeneš mu říct, že jsem volala? called? PAUL PAUL Don’t worry, he’s in safe hands. I will Neboj, je v dobrých rukou. Určitě mu certainly tell him you called. Cheers. řeknu, že jsi volala. Na zdraví. RECORDING STUDIO IN MUNICH NAHRÁVACÍ STUDIO V MNICHOVĚ PAUL PAUL
94
Freddie, it’s really great. Freddie, to je opravdu skvělý. FREDDIE FREDDIE It’s shit! Just leave it. Je to sračka. Nech to bejt. PAUL PAUL Yeah, hang on one second. Give it more Jo, vydrž vteřinu. Dej tomu víc sopránu. treble. Jim Beach is making a phone call to Jim Beach volá Paulovi. Paul. MIAMI BEACH MIAMI Where is he? Is he there? I wanna speak Kde je? Je tam? Chci s ním mluvit. to him. PAUL PAUL He is working himself to the bone. I’m Pracuje do vyčerpání těla. Jsem rudý blue in the face trying to get him to take vzteky, jak se ho snažím donutit a break. k přestávce. MIAMI BEACH MIAMI BEACH Paul, listen to me. It’s one performance Paule, poslouchej mě. Jde o jedno for a good cause. It’s a televised concert představení na dobrou věc. Je to koncert for the famine in Ethiopia. They’re proti hladomoru v Etiopii, televizně gonna have simultaneous performances vysílaný. Budou mít souběžné in Philadelphia and London. There’s představení ve Filadelfii a Londýně. gonna be a billion people watching. Miliarda lidí to bude sledovat. Queeni by Queen should be part of it. měli být součástí. PAUL PAUL He’s just been really focused. But I’ll be Zrovna teď má práce nad hlavu. Ale sure to pass it on. určitě to předám dál. JIM BEACH JIM BEACH Sure you will. No, ty určitě. FREDDIE’S MANSION IN MUNICH FREDDIEHO SÍDLO V MNICHOVĚ MARY MARY Hi. Ahoj. FREDDIE FREDDIE Hi. Come in, come in. Why did you
95 come all this way? Ahoj. Pojď dál, pojď dál. Proč jsi sem jela celou tu cestu? MARY MARY I just haven’t heard from you in so long, Tak dlouhou jsem o tobě neslyšela, and I phoned and phoned, and then last volala jsem a volala, a pak minulou noc night I just had this terrible dream that se mi zdálo, že se stalo něco špatného. something bad had happened. FREDDIE FREDDIE No, no. I’ve been working, that’s all. Ne, ne. Pracoval jsem, nic víc. MARY MARY Freddie, you’re burning the candle at Freddie, takhle za chvilku vyhoříš. both ends. FREDDIE FREDDIE Yes, but the glow is so divine. Being To jo, ale ten žár je božskej. Být human is a condition that requires a little člověkem je diagnnóza, která vyžaduje anesthesia. trochu té anestezie. MARY MARY I miss you. Chybíš mi. FREDDIE FREDDIE I miss you. I miss you so much. Listen, Chybíš mi. Tak moc mi chybíš. but I have to finish the second album. I Poslouchej, musím dokončit druhé need you. Stay. Stay here with me. Just album. Potřebuju tě. Zůstaň. Zůstaň tady you and me. I need the love of my life. se mnou. Jenom ty a já. Potřebuju lásku svého života. MARY MARY Freddie, what about Queen? Jim told me Freddie, a co Queeni? Jim mi říkal, že se he’s been trying to contact you about tě snažil zkontaktovat kvůli Live Aid a ty Live Aid, and you won’t take his calls. mu nebereš telefony. FREDDIE FREDDIE What is Live Aid? Co je Live Aid? MARY MARY
96
You haven’t heard? Freddie, it’s the Freddie, ty jsi o tom neslyšel? Je to biggest concert there's ever been or ever největší koncert, který kdy byl nebo kdy will be. It’s for the famine in Africa. bude. Je to proti hladomoru v Africe. FREDDIE FREDDIE Well, perhaps Paul thought it wasn’t a No, možná si Paul myslel, že to není good idea, a distraction from my work. dobrej nápad, rozptýlení od mé práce. That’s what’s important, that I finish this Opravdu je důležitý, abych dokončil to album. Stay with me, darling, and I’ll be album. Zůstaň se mnou, drahoušku a all right. budu v pořádku. MARY MARY Freddie, I can’t stay with you. Freddie, nemůžu s tebou zůstat. FREDDIE FREDDIE Of course, you can. I need you, Mary. Samozřejmě, že můžeš. Potřebuju tě, Mary. MARY MARY Freddie, I’m pregnant. Freddie, jsem těhotná. FREDDIE FREDIE How could you? Jak jsi mohla? MARY MARY How could I? Freddie, this has nothing Jak já jsem mohla? Freddie, to se tě to do with you. vůbec netýká. PAUL PAUL Come on. Let’s get in. I bought some No tak. Pojďte dál. Koupil jsem nějaký nibbles. Freddie. Sorry we’re late. Mary. jednohubky. Freddie, promiň, jdem What a pleasant surprise. Hans. pozdě. Mary, jak milé překvapení. Hansi. Everyone, come in. Milan, make our Všichni, pojďte dovnitř. Milane, udělej guests comfortable. I wish I knew you naším hostům pohodlí. To je škoda, že were coming to stay. I’d have scrubbed jsem nevěděl, že u nás zůstaneš. Trochu the place. bych to tady vypucoval. MARY MARY Actually, I’m not staying. Já vlastně nezůstávám. Mary is leaving the house and Freddie is Mary odchází z domu a Freddie ji following her. následuje.
97
FREDDIE FREDDIE Wait. Mary, wait. Don’t go. You told me Počkej. Mary, počkej. Neodcházej. you had a dream. What was it? Řekla jsi mi, že se ti zdál sen. O čem byl? MARY MARY I was trying to talk to you, but it was like Snažila jsem se s tebou mluvit, ale bylo talking to my father. You needed to tell to, jako bych mluvila se svým otcem. me something, but you couldn’t say it. Chtěl jsi mi něco říct, nemohl jsi, protže Because you had no voice. jsi ztratil hlas. PAUL PAUL Freddie, come and say hello to our new Freddie, pojď pozdravit naše nové hosty. guests. They’re dying to meet you. He’ll Umírají touhou tě vidět. Bude tady za be one second. vteřinu. FREDDIE FREDDIE Mary! I’m happy for you. Truly, I am. Mary! Jsem za tebe šťastný. Vážně jsem. It’s just...I’m frightened. Je to jenom…mám strach. MARY MARY Freddie, you don’t need to be. Because Freddie, nemusíš mít. Protože děj se, co no matter what, you are loved. By me, děj, jsi milováný. Mnou, Brianem, by Brian, Deacy, Roger, your family. Deacym, Rogerem, svou rodinou. A to je It’s enough. And these people, they hodně. A tito lidé, těm na tobě nezáleží. don’t care about you. Paul doesn’t care Paulovi na tobě nezáleží. Sem nepatříš, about you. You don’t belong here, Freddie. Vrať se domů. Freddie. Come home. FREDDIE FREDDIE Home. Domů. PAUL PAUL Freddie! What are you doing? You’ll Freddie! Co to děláš? Nachladneš. catch your death. FREDDIE FREDDIE Why didn’t you tell me about Live Aid? Proč jsi mi neřekl o Live Aid? PAUL PAUL
98
The Africa charity gig? It’ll be an Ten charitativní koncert pro Afriku? embarrassment. I didn’t wanna waste Bude to trapas. Nechtěl jsem plýtvat your time. tvým časem. FREDDIE FREDDIE You should have told me. Měl jsi mi to říct. PAUL PAUL Of course, I did. You forgot. You’re Samozřejmě, že jsem ti to řekl. always forgetting things. Come in now Zapomněl jsi. Ty pořád na něco and have a drink. zapomínáš. Pojď se dovnitř napít. FREDDIE FREDDIE You’re out. Máš padáka. PAUL PAUL What do you mean? Co tím myslíš? FREDDIE FREDDIE I want you out of my life. Chci, abys odešel z mého života. PAUL PAUL ‘Cause I’m the only one left, you’re Protože jsem jediný, kdo zůstal, tak mi blaming me for everything? dáváš vinu za všechno? FREDDIE FREDDIE I blame myself. Vinu dávám sobě. PAUL PAUL So I’m out? Just like that? After Takže jsem venku. Jen tak? Po všem, čím everything we’ve been through? Just jsme prošli? Jenom si vzpomeň na ty think of the photos I have. I know who fotky, co mám. Vím, kdo jsi, Freddie you are, Freddie Mercury. Mercury. FREDDIE FREDDIE You know when you know you’ve gone Víš, kdy poznáš, že jsi zkaženej? rotten? Really rotten. Fruit flies. Dirty Opravdu zkaženej. Vinné mušky. Malé little fruit flies. Coming to feast on špinavé vinné mušky. Slétávají se nad what’s left. Well, there isn’t much left tím, co zbylo, aby mohly hodovat. No, for you to feast on anymore. So, fly off. ale tady už toho pro tebe moc nezbylo. Do what you like with your photographs Tak odleť. Dělej si, co chceš se svými and your stories. But promise me one fotkami a historkami. Ale slib mi jednu
99 thing. That I never see your face again. věc. Že tvůj obličej už nikdy neuvidím. Ever. Nikdy. PAUL PAUL I didn’t mean it. I’m sorry! Freddie, Já jsem to tak nemyslel. Mrzí mě to. come back! I’ll make it better. Freddie, vrať se! Napravím to.
TELEVISION INTERVIEW WITH ROZHOVOR V TELEVIZI S PAULEM PAUL PAUL PAUL But, Peter, you might be right. I’m not Ale Petere, možná máte pravdu. Nejsem even hurt by the fact that he’s let me go ani raněný tím, že mě opustil jako přítele. as a friend. But you can only be there so Ale můžete tady být tak moc pro jednoho much for a person. člověka. TV JOURNALIST TELEVIZNÍ NOVINÁŘ And so, Mr. Prenter, all these stories Tak pane Prentere, všechny ty příběhy o about Freddie Mercury and his lovers Freddiem Mercurym, jeho milencích, a that there were so many. to že jich bylo tolik. PAUL PAUL Yeah? Ano? JOURNALIST NOVINÁŘ Is it really true? Je to skutečně pravda? PAUL PAUL Yes, it is. His lovers were countless. Ano, to je. Měl nespočetně milenců. Genuinely countless. Uh. All these wild, Opravdu nespočetně. Všechny ty divoké drug-fueled parties where he’d find párty plné drog, kde si každou noc našel another lover every night and a routine jiného milence a rutina, ze které he couldn’t get out of. nedokázal vystoupit. JOURNALIST NOVINÁŘ So, you really did see behind the mask? Takže jste opravdu náhlédl pod pokličku? PAUL PAUL I knew Freddie when he did Bohemian Znal jsem Freddieho, když napsal Rhapsody. And the Freddie we have Bohemian Rhapsody. A ten Freddie,
100 now he doesn’t have the same passion kterého máme teď nemá tu samou vášeň about music. k hudbě. Freddie is making a phone call to Jim Freddie volá Jimu Beachovi. Beach. JIM BEACH JIM BEACH Hello? Hello? Prosím? Prosím? FREDDIE FREDDIE Miami? Miami? JIM BEACH JIM BEACH Freddie? How are you? Freddie? Jak se máš? FREDDIE FREDDIE There was this Africa concert that wants Jde o ten koncert pro Afriku, chtěli, aby Queen to play. Is that still... Queeni hráli. Je to pořád… JIM BEACH JIM BEACH You mean Live Aid? They’ve Myslíš Live Aid? Už ohlásili všechny announced all the bands, Freddie. It’s kapely, Freddie. Je příliš pozdě. too late. FREDDIE FREDDIE I need...I need to reconnect with the Potřebuju…potřebuju se znovu spojit mothership. s mateřskou lodí. JIM BEACH JIM BEACH Freddie, they don’t want anything to do Freddie, nechtějí s tebou nic mít. Jsou with you. They’re still very upset. pořád hodně naštvaní. FREDDIE FREDDIE Maybe if you ask them, they would meet Možná, kdyby ses jich zeptal, tak by se me. Tell them I want to talk. Just talk. se mnou sešli. Řekni jim, že si chci promluvit. Jen promluvit. Interview continues indistinctly on TV. Interview pokračuje nezřetelně v televizi. FREDDIE FREDDIE We’re family. You know, family have Jsme rodina. Víš, rodina se hádá pořád. fights all the time. JIM BEACH JIM BEACH
101
I can call. Můžu jim zavolat. FREDDIE FREDDIE Thank you, Jim. Děkuj, Jime. TV JOURNALIST TELEVIZNÍ NOVINÁŘ As his friend, somebody who probably Jako jeho přítel, někdo, kdo zná knows Freddie Mercury better than pravděpodobně Freddieho Mercuryho anybody else. How would you describe lépe než kdokoliv jiný. Jak byste ho him inside as a person? popsal jako člověka? PAUL PAUL For me, Freddie will always be this Pro mě bude Freddie vždy ten malý frightened little Pakkie boy who’s afraid vystrašený Pakoš, co se bojí samoty. to be alone. JOURNALIST NOVINÁŘ I hope he sees this and realizes what he Doufám, že to vidí a uvědomí si, co ve has lost in you. vás ztratil. PAUL PAUL I hope he does, too. Taky doufám, že jo. JOURNALIST NOVINÁŘ A close and important friend. Blízký a důležitý přítel. JIM BEACH’S OFFICE KANCELÁŘ JIMA BEACHE FREDDIE FREDDIE Where are they? Kde jsou? JIM BEACH JIM BEACH They’re late. Mají zpoždění. JIM BEACH JIM BEACH Hi, guys. Čau lidi. BRIAN BRIAN Jim. Jime. JIM BEACH JIM BEACH If anybody wants any tea, coffee, bladed Pokud někdo chce čaj, kávu, sečné weapons. Just, just ask. So who wants to zbraně. Jenom, jenom si řekněte. Tak go first? kdo chce začít první? FREDDIE FREDDIE
102
I’ll start. I’ve been hideous. I know that, Já začnu. Byl jsem strašnej. Vím to a and I deserve your fury. I’ve been zasloužím si, abyste ne mě byli naštvaní. conceited selfish. Well, an asshole, Byl jsem namyšlene, sobeckej. No, basically. v podstatě kretén. ROGER ROGER Strong beginning. Silnej začátek. FREDDIE FREDDIE Look, I'm happy to strip off my shirt and Dívejte, mile rád si sundám košili a flagellate myself before you. Or rather, I zbičuju se tady před vámi. Nebo se vás could ask you a simple question. raději zeptám na jednoduchou otázku. ROGER ROGER I’m good with the flagellation. Mně přijde to bičování dobrý. FREDDIE FREDDIE What’s it gonna take for you all to Co mám udělat pro to, abyste mi vy forgive me? všichni odpustili? BRIAN BRIAN Is that what you want, Freddie? I forgive To chceš, Freddie? Odpouštím ti. To je you. Is that it? Can we go now? ono? Můžeme teď jít? FREDDIE FREDDIE No. I went to Munich. I hired a bunch of Ne. Jel jsem do Mnichova. Najal jsem guys. I told them exactly what I wanted partu chlápků. Řekl jsem jim přesně, co them to do, and the problem was they did chci, aby udělali a problém byl, že oni to it. No pushback from Roger. None of udělali. your rewrites. None of his funny looks. I Žádný Rogerovo odmítání. Žádný need you. And you need me. Let’s face z tvých přepisů. Žádný z jeho směšných it. We’re not bad for four aging queens. pohledů. Potřebuju vás a vy potřebujete So, um, go ahead. Name your terms. mě. Jen si to přiznejme. Na čtyry stárnoucí dámičky nejsme špatní. Tak do toho. Stanovte si podmínky. BRIAN BRIAN Could you give us a moment, please, Dal bys nám dát chvilku, Frede? Fred? Freddie is leaving the office. Freddie odchází z kanceláře.
103
JOHN JOHN Why’d you do that? Proč jsi to udělal? BRIAN BRIAN I just felt like it. Chtělo se mi. Jim Beach is leaving the office. Jim Beach odchází z kanceláře. JIM BEACH JIM BEACH They’ll be all right. They just need a bit Budou v pohodě. Potřebují jen trochu of time. času. FREDDIE FREDDIE What if I don’t have time? Co když čas nemám? JIM BEACH JIM BEACH What do you mean, Fred? Jak to myslíš, Frede? JOHN JOHN You can come back in now if you’d like. Teď se můžeš vrátit dovnitř, pokud chceš. ROGER ROGER We decided… What did we decide? Dohodli jsme se… Na čem jsme se to dohodli? JOHN JOHN From now on, every song, no matter who Od teď každá píseň, nezáleží na tom, kdo wrote it, music, lyrics it’s by Queen. Not ji napsal, hudbu, slova je od Queen. Ne one of us, just Queen. All the money, all od jednoho z nás, jenom Queen. Všechny the credits, split four ways evenly. peníze, všechny kredity, se rozdělí spravedlivě na čtyři díly. FREDDIE FREDDIE Done. Platí. BRIAN BRIAN We have a problem with the people Máme problém s lidmi okolo tebe. around you. FREDDIE FREDDIE Paul is out. I fired him. Paul je pryč. Vyhodil jsem ho. JOHN JOHN On what pretext? Pod jakou záminkou?
104
FREDDIE FREDDIE Villainy. What else? Za podlost. Co dál? JIM BEACH JIM BEACH Bob Geldof. I called to convince him to Bob Geldof. Volal jsem mu, abych ho squeeze you guys into the lineup for the přesvědčil a vmáčknul vás do programu Live Aid concert, but he wants an koncertu Live Aid, ale chce odpověď answer now. You have to make a teď. Musíte se rozhodnout. Všechny decision. Every ticket’s already sold. lístky jsou už vyprodané. Sto tisíc lidí ve Hundred thousand people at Wembley, Wembley, sto tisíc lidí na stadionu JFK hundred thousand people at JFK ve Filadelfii, publikum po celém světě ze Stadium in Philadelphia, a global TV 150 zemí, 13 satelitů. Olympiáda měla audience around the world of 150 jenom tři. countries 13 satellites. The Olympics only had three. ROGER ROGER We haven’t played together in years. It’s Roky jsme spolu nehráli. Je to tak trochu kinda suicide to play again for the first sebevražda hrát znovu na poprvý před time in front of millions. miliónama. BRIAN BRIAN Try over 1.5 billion. “Who are these four Zkus přes 1,5 miliardy. Kdo jsou tito dinosaurs?” “Where’s Madonna?” čtyři dinosauři. Kde je Madonna? JIM BEACH JIM BEACH It’s a 20-minute set. Everyone gets the Bude to trvat 20 minut. Každý bude mít same. Jagger, Bowie, Elton, McCartney, stejně dlouhý čas. Jagger, Bowie, Elton, The Who, Led Zeppelin, Phil Collins, McCartney, The Who, Led Zeppelin, REO Speedwagon, Bob Dylan. Phil Collins, REO Speedwagon, Bob Dylan. JOHN JOHN Certainly good company. Zajisté dobrá společnost. JIM BEACH JIM BEACH Anybody who is anybody is doing this Každý, kdo něco znamená, se bude concert. podílet na tomto koncertě. FREDDIE FREDDIE
105
Look. All I know is that if we wake up Dívejte. Jediné co vím, je, že když se the day after this concert and we didn’t probudíme den po koncertu s vědomím, do our part, we’re going to regret it till že jsme nehráli, budeme toho litovat do the day we die. Please. konce našeho života. Prosím. GARDEN LODGE GARDEN LODGE NEWS ANCHOR TELEVIZNÍ ZPRÁVY Every day, in San Francisco, two more Každý den v San Franciscu uslyší další men hear the grim news, “You have dva muži tu strašnou zprávu, „Máte AIDS, there’s no cure ”. Since doctors in AIDS a není to léčitelné“. Jelikož lékaři France and America isolated the virus in ve Francii a Americe virus izolovali 1983, research has proceeded at a frantic v roce 1983, výzkum postupoval pace. The method used by the virus to zběsilým tempem. Sice bylo objeveno, destroy the body’s immune system has jak virus ničí imunitní systém těla, ale been discovered, but a cure still seems léčba stále vypadá, že je mnoho let many years away. A major breakthrough v nedohlednu. Významným průlomem je has been a new blood test that should nový krevní test, který by měl zajistit, že ensure that in future nobody contracts se v budoucnu se nikdo nenakazí virem AIDS from a blood transfusion. But it’s AIDS z krevní transfuze. Zrovna to bylo only just been approved for use. schváleno k užití. CLINIC KLINIKA DOCTOR DOCTOR Do you understand? The way we go Rozumíte tomu? Vycházíme z toho, že from here is that treatments are léky jsou dostupné. Jsou ale jen částečně available. They’re not particularly účinné, Freddie. effective, Freddie. MAN MUŽ Eh-oh! É-o! FREDDIE FREDDIE Eh-oh. É-o! REHEARSAL STUDIO ZKUŠEBNA The band is rehearsing. Kapela má zkoušku. JOHN JOHN Yep. Jop.
106
BRIAN BRIAN Let’s call it. Yeah? Zabalíme to. Co? BRIAN BRIAN Yeah, yeah. Jo, jo. FREDDIE FREDDIE Sorry. I sound like shit. You all are Pardon. Zním příšerně. Všichni jste lovely, you sound good. Been a while. úžasní, zníte dobře. Už je to doba. Mám My throat feels like a vulture’s crotch. v puse jak v polepšovně. ROGER ROGER We still got a week. Máme ještě týden. JOHN JOHN We’ll get there. Dostaneme se tam. BRIAN BRIAN Yeah, we’re in a good place, Fred. Jo, jsme na dobrým místě, Frede. You just need a bit of rest, that’s all. Potřebuješ si jen trochu odpočnout, to je vše. FREDDIE FREDDIE Yeah. Jo. JOHN JOHN Get a drink, Rog? Půjdem na skleničku, Rogi? ROGER ROGER Yeah, there’s a nice little pub down the Jo, vlastně vím o jedné malé hospůdce road, actually. dole po cestě. BRIAN BRIAN Can I come? Můžu se přidat? JOHN JOHN No, of course not. Ne, samozřejmě, že ne. ROGER ROGER We’re just an exklusive, invite-only. Je to jen pro vybrané, pouze pro zvané. BRIAN BRIAN Yeah, that’s kind of you. Jasně, to jsi celý ty. FREDDIE FREDDIE Before you leave, could I have a second? Než odejdete, můžu na vteřinu?
107
ROGER ROGER Yeah. What’s up? Jo, co se děje? FREDDIE FREDDIE I’ve got it. Mám to. JOHN JOHN Got what? Máš co? FREDDIE FREDDIE AIDS. I wanted you to hear it from me. AIDS. Chtěl jsem, abyste to slyšeli ode mě. BRIAN BRIAN Fred, I’m so sorry. Frede, je mi to tak líto. FREDDIE FREDDIE Brian, stop. Don’t. For right now, it’s Briane, přestaň. Ne. Prozatím je to mezi between us. All right? Just us. So, námi. Ano? Jenom mezi námi. Tak please, if any of you fuss about it or prosím, jestli si někdo z vás bude kvůli frown about it, or, worst of all, if you tomu dělat starosti nebo se bude kvůli bore me with your sympathy, that’s just tomu mračit, nebo ještě hůř, jestli mě seconds wasted. Seconds that could be znudíte vaší lítostí, tak to jsou jen used making music which is all I want to promrhané vteřiny. Vteřiny, který jsme do with the time I have left. I don’t have mohli využít k tvoření hudby, což je vše, time to be their victim, their AIDS poster co chci udělat s časem, co mi zbývá. boy, their cautionary tale. No, I decide Nemám čas na to být jejich obětí, jejich who I am. I’m going to be what I was klukem z plakátů s AIDS, jejich born to be. A performer who gives the výstražným případem. Ne, rozhodl jsem people what they want. Touch of the se, kdo jsem. Budu tím, kým jsem se heavens. Freddie fucking Mercury. narodil. Umělcem, který dává lidem, co chtějí. Dotek z nebes. Freddie zkurvenej Mercury. BRIAN BRIAN You’re a legend, Fred. Jsi legenda, Frede. FREDDIE FREDDIE You’re bloody right, I am. We’re all To máš sakra pravdu, že jsem. Všichni legends. But you’re right. I am a legend. jsme legendy. Ale máš pravdu, já jsem
108
Now, you give me a chance to get my legenda. Teď mě akorát nechte dát ty bitchy little vocal cords in order, and moje podělaný hlasivky do pořádku. we’ll go and punch a hole through the Půjdeme a uděláme díru do střechy toho roof of that stadium. stadionu. JOHN JOHN Actually, Wembley doesn’t have a roof. Vlastě, Wembley nemá střechu. FREDDIE FREDDIE All right. Dobře. BRIAN BRIAN No, he’s right. It doesn’t. Ne, má pravdu. Nemá. FREDDIE FREDDIE Then we’ll punch a hole in the sky. Now, Tak uděláme díru do oblohy. I když even though you’re crying like three brečíte jako tři malý holky…i tak vás little girls…I still love you. miluju.
ROGER ROGER All right. Dobře. FREDDIE FREDDIE Enough of this. To by stačilo. BRIAN BRIAN Drink? Skleničku? ROGER ROGER Yes! Jo! JOHN JOHN Or ten? Nebo deset? GRADEN LODGE GARDEN LODGE FREDDIE FREDDIE What are you looking at? You think you Na co se díváte? Myslíte, že byste to could do better? Everyone’s a critic. uměli líp? Každej je kritik. WEMBLEY STADIUM WEMBLEY STADIUM RICHARD RICHARD
109
It’s 12:00 noon in London. 7:00 a.m. in Je 12:00 v Londýně. 7:00 ve Filadelfii. Philadelphia. And around the world, it’s A po celém světě je čas na charitativní time for Live Aid. koncert Live Aid. BOB BOB If you have credit cards, you can phone Jestli máte kreditní karty, můžete volat up with the number you want to give. s částkou, kterou chcete věnovat. Ale But you can also pledge cash, and it’s můžete také přislíbit peníze v hotovosti, very important. There is not enough a to je velmi důležité. Peněz, které money coming in, and all these people posíláte, není dost a tito všichni lidé are not playing for the good of their nehrají pro blaho svého zdraví. Hrají pro health. They’re playing for the good of blaho zdraví ostatních lidí. Takže teď other people’s health. So get your money vytáhněte peníze! Zavolejte a dejte nám out now! And phone up and give us the ty peníze. Máte jich spoustu, a jestli money. You’ve got plenty of it, or if you žádné nemáte, dostaňte je k lidem, kteří got none of it get it to people who are umírají hlady. Chceme dostat milion dying of starvation. We want to get a liber z této země po telefonu před million pounds out of this country. On desátou večer. the telephone, before 10:00 tonight. JIM’S HOUSE JIMŮV DŮM FREDDIE FREDDIE Do you have any idea how many Jim Máš vůbec ponětí, kolik Jimů Huttonu je Huttons there are in London? v Londýně? JIM JIM Well, I didn’t want to make it too easy No, nechtěl jsem ti to moc ulehčovat. Jak for you. How have you been, Freddie? ses měl, Freddie?
FREDDIE FREDDIE I’ve been a bit lost, to be honest. You Abych byl upřímnej, tak jsem byl trochu were right. I could do with a friend. ztracenej. Měl jsi pravdu. Přítel by se mi Would you like to have tea with me? hodil. Dal by sis se mnou čaj? JIM JIM Tea? Čaj? BULSARA’S HOUSE DŮM BULSARŮ
110
KASHMIRA KASHMIRA So, Jim, how do you know Freddie? Tak Jime, jak se znáte s Freddiem? BOMI BOMI Do you work together? Pracujete spolu? FREDDIE FREDDIE Jim’s my friend. Jim je můj přítel. Freddie takes Jim by his hand. Freddie chytne Jima za ruku. JER JER Wonderful to have friends. Je skvělé mít přátele. BOMI BOMI Mithai. Jer made it herself. Mithai. Jer je udělala. JIM JIM Thank you. Děkuji. KASHMIRA KASHMIRA Freddie? Freddie? JER JER Your favorite, Freddie. Tvoje oblíbené, Freddie. FREDDIE FREDDIE We have to go, Mum. Musíme jít, mami. JER JER But you just got here, beta. Ale zrovna jste přišli, beto. BOMI BOMI What do you mean, “go”? Jak to myslíš, „jít“? FREDDIE FREDDIE We’ve gotta get to Wembley. Would Musíme se dostat do Wembley. Věřili you believe it? Jim’s never been to a byste tomu? Jim nikdy nebyl na rokovým rock concert. koncertě. JIM JIM That’s true. To je pravda. KASHMIRA KASHMIRA Queen are playing at Live Aid. Queeni hrají na Live Aid. FREDDIE FREDDIE
111
We’re all doing our bit for the starving Všichni děláme něco málo pro children in Africa, and nobody’s taking hladovějící děti v Africe a nikdo si za to any money. Good thoughts, good words, nebere peníze. Dobré myšlenky, dobrá good deeds. Just like you taught me, slova, dobré skutky. Přesně jak jsi mě to Papa. naučil, tati. JER JER Love you, beta. Mám tě ráda, beto. FREDDIE FREDDIE Bye, Kash. Love you, too, Mama. In Ahoj Kashi. Taky tě mám rád, mami. fact, I’ll blow you a kiss when I’m on Vlastně vám pošlu pusu, až budu na stage. pódiu. BOMI BOMI Kashi, put on the telly. Kashi, zapni telku. WEMBLEY/BAND’S TRAILER WEMBLEY/KARAVAN KAPELY Mary knocks on the door. Mary zaťuká na dveře. BRIAN BRIAN Hello, Mary! Ahoj Mary! MARY MARY Hi, Brian! We just came to wish you Ahoj Briane! Přišli jsme vám jen popřát good luck. hodně štěstí. FREDDIE FREDDIE Hello, my love. Ahoj lásko. MARY MARY Hi. Ahoj. FREDDIE FREDDIE Mary, David, this is Jim. Jim, Mary, and Mary, Davide, toto je Jim. Jime, Mary a David. David. JIM JIM It’s nice to meet you. Rád vás poznávám. DAVID DAVID Hi. Ahoj. FREDDIE FREDDIE
112
I’ll see you after. I don’t think you’re Uvidíme se potom. Pochybuju, že odsud gonna be able to see anything from here. něco uvidíš. Přidej se k nim. Co si Join them. What do we think of David? myslíte o Davidovi? BRIAN BRIAN Nice chap. Sympaťák. FREDDIE FREDDIE I think he’s gay. Myslím, že je gay. ORGANIZER ORGANIZÁTOR We’ll be on in about one minute. One, Budem tady zhruba za minutu. Jedna, two. One, two. dvě. Jedna, dvě. FREDDIE FREDDIE That’s almost us. To už jsme skoro my. BRIAN BRIAN We ready? Můžeme? FREDDIE FREDDIE Feel good? Jste v pohodě? WEMBLEY STADIUM/STAGE WEMBLEY STADIUM/PÓDIUM ORGANIZER ORGANIZÁTOR So we have had a bit of a complaint Měli jsme tady menší stížnost na hluk od about the noise. From a woman in ženy z Belgie. Každopádně je nám Belgium. Anyway, it gives us enormous obrovskou ctí představit další kombo, pleasure to introduce the next combo což jsou… Její veličenstvo, Queen! who are... Her Majesty, Queen! SOUNDMAN 1 SOUNDMAN 1 Check, two, check. Zkouška, dvojka, zkouška. SOUNDMAN 2 SOUNDMAN 2 Nothing. Nic. The band is performing. Kapela hraje. FREDDIE FREDDIE Eh-oh! É-o! CROWD CROWD Eh-oh! É-o! FREDDIE FREDDIE
113
All right! Super! CROWD CROWD All right! Super! FREDDIE FREDDIE Hey! Hey! Hey! Hey! Hey! “Hammer to Hej! Hej! Hej! Hej! Hej! „Hammer to Fall”! Fall“! CALL CENTER CALL CENTRUM OPERATOR 1 TELEFONISTA 1 Hello? Live Aid. Hello? Live Aid. Prosím? Live Aid. Prosím? Live Aid. OPERATOR 2 TELEFONISTA 2 Hello? Live Aid. Hello? This is Live Prosím? Live Aid. Prosím? Tady Live Aid. Aid. OPERATOR 1 TELEFONISTA 1 Hello, Live Aid. Prosím, Live Aid. OPERATOR 3 TELEFONISTA 3 We just hit a million! Zrovna jsme dosáhli milionu! OPERATOR TELEFONISTKA One million pounds! Jeden milion liber! OPERATOR 4 TELEFONISTA 4 One million pounds! Jeden milión liber! OPERATOR 3 TELEFONISTA 3 Thanks. Great. Díky. Skvělé. WEMBLEY STADIUM/STAGE WEMBLEY STADIUM/PÓDIUM FREDDIE FREDDIE So long and goodbye! We love you! Tak zatím nashledanou! Byli jste skvělí!
114
4.2. Analysis of the Translation
The analysis examines differentness and potential problems in translation. The transcript of the film is compared to my personal translation and the official translation provided by Petr Fantys.
Focus is laid on the extracts where the source language significantly differs from the target language, subsequently the translations from one another. The analysis is primarily concerned with semantic connotation differences, pragmatic differences, and formal differences;77 furthermore, with cultural references, measures, familiar terms, colloquialisms. I opted for these particular extracts as they appeared intriguing to be analyzed.
As for differences emerging in the texts, semantic connotation differences include vulgarisms, intensifiers, and stylistic connotations. Pragmatic differences concern with expressions that need to be further explained or substituted by other phrases familiar to the target language; in addition to that, formal differences are applied to multi-word expressions. 78
Moreover, the cultural references comprise establishments, people, and issues connected with the cultural and historical context of the time in which the film is set.
This analysis aims to show the differences and, subsequently, potential problems in the transcript of the film, my translation, and the official translation provided by Petr Fantys. Furthermore, I aspired to maintain the authenticity of the film in the translation and demonstrate the variability of the translation. Additionally, the aim was not to prove Fantys’s translation wrong, not in the least as I am persuaded that there is not only one correct translation in existence. However, the purpose was to offer options that seem to be more suitable for a particular scene, in my personal opinion.
To maintain the author’s intention and the naturality, I opted for a free translation that is suitable for literary texts for the differences between source and target language.
77 Knittlová, 2003, p. 58-85 Translated by Jana Minářová 78 Knittlová, 2003, p. 58-85 Translated by Jana Minářová 115
Regarding the graphical arrangement, on the left side, there is the original text, in the middle, my translation, and on the right side the official translation. Furthermore, analyzed parts are not categorized as they intermingle with one another.
FREDDIE FREDDIE FREDDIE
I’ve been following you for a Vlastně už nějakou dobu Už vás nějakou dobu while, actually. Smile. Makes chodím na vaše koncerty. sleduju. Smile. Chápu, sense for a dental student. And Smile. To je pochopitelný studuješ zubařinu. A ty jsi you’re astrophysics, aren’t you? pro studenta zubárny. A ty astrofyzik, že jo? jsi astrofyzik, že?
TIM TIM TIM
Humpy Bong. They’re going Humpy Bong. Ta kapela to Někam to dotáhnou. places. They’re gonna be big. někam dotáhne. Budou Budou fakt slavný. úspěšní.
The first example pertains to cultural references that are not well-known in the Czech context, thus need to be translated.
Newmark says, “I define culture as the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression.” He also claims that most of the “cultural” words cannot be translated as a literal translation would misrepresent the meaning. (Newmark, 1988, p. 94).
I hesitated how to deal with the names of the bands in text. There is a possibility to seek equivalents in a target language. Thus, I was to think of an equivalent from the Czech context as Czech audience are not very familiar with these two bands.
Smile and Humpy Bong were British rock bands. Smile, formed by Brian May and Tim Staffel, subsequently joined by Roger Taylor, was founded in 1968. Two years later, the lead singer Tim Staffel decided to abandon this band and joined the band Humpy Bong, which was founded by Colin Petersen and Jonathan Kelly in 1970
116 as a frontman.79 In 1970, back then, Farrokh Bulsara joined Smile, and they formed a band, Queen.
The substitution for a Czech equivalent was not realizable since these two bands were significant for the story of the movie, I decided to maintain the original name of the band. The only eventuality was to apply the explanation in the text.
I did not want to elongate the text with lengthy explanations. The part where Freddie says that he has been following them for a while was altered with the information that Freddie has been following them at the concerts, in a Czech wording, “Vlastně už nějakou dobu chodín na vaše koncerty”.
The excerpt, where Humby Bong is mentioned, was replaced by “they” with “band” in the translation. Moreover, the result is: “Tato kapela to někam dotáhne.”
BRIAN BRIAN BRIAN
All right, Muhammad Ali. To by stačilo, ty boxere. To Ty taky. Muhammade That’s... That’s quite a cool riff, je… To je docela dobrej Ali. To je…To je fakt actually. rytmus. dobrej riff.
Muhammad Ali born Cassius Marcellus Clay, Jr. was an Afro-American World Champion boxer, having lived in that time.80
Addressing Freddie Muhammad Ali, Brian refers to the fact that Freddie used to be a boxer when he was a child.
I did not want to add the name of another boxer. Since the name of this boxer, Muhammad Ali does not seem to be well-known in the Czech context and is not crucial for this scene. Thus, I decided on an alternative variety, where the profession of Muhamed Ali is used, “…, ty boxere.” Instead of his name. Fantys’s translation
79 The History of Smile: The Band That Set the Stage for Queen. Retrieved from https://ultimateclassicrock.com/queen-smile-band-history/ Humpy Bong. Retrieved from https://enacademic.com/dic.nsf/enwiki/2593674 Humpy Bong. Retrieved from https://en.wikipedia.org/wiki/Humpy_Bong 80 Muhammad Ali Biography. Retrieved from https://www.biographyonline.net/sport/muhammad- ali.html
117 comprises the original proper name “Muhammade Ali.” when addressing Freddie, which could not be meaningful for some Czech viewers.
PAUL PAUL PAUL
[…] Right, I know it’s not the […] Dobře, vím, že to není Vím, že to není Ritz. Ani Ritz. […] Hilton. […] […]
The Ritz, whose official name is The Ritz-Carlton, is a chain of luxury hotels around the whole world with one hundred years-long traditions. 81 This hotel chain is not probably known in the Czech Republic. I believe that Fantys’s translation “Vím, že to není Ritz.” does not seem to be the most adequate. Since there are none of these hotels in the Czech Republic; thus, I decided to replace Ritz hotel with another similar chain of hotels that could be in the cognizance of Czech viewers. Having considered possible hotels fitting to this context, e.g., Hotel Plaza, I remember when somebody refers to the fact that the hotel is not luxurious, an expression “Hilton” is used. Therefore, my translation “Dobře, vím, že to není Hilton.” including hotel Hilton instead of Ritz could be in the awareness of the Czech viewers.
FREDDIE FREDDIE FREDDIE
And without me, you’d be a dentist A beze mě, ty bys byl zubař, A beze mě…bys ty byl drumming 12/8-time blues at the co hraje na bicí pomalej zubařem…a o víkendech weekend at the Crown and blues o víkendech bubnoval blues v hospodě Anchor. […] v nějakým nudným klubu. U Koruny a Kotvy. […] […]
In this part, two issues are discussed: a musical measure and a cultural reference.
81 Luxury Hotels & Resorts: The Ritz. Retrieved from https://www.ritzcarlton.com/
118
The term “12/8-time blues” represents typical slow blues played in 12/8 measure, which means twelve eighth notes are beaten in one measure.82 It would be of no use to translate it word by word as “blues hranej ve 12/8 taktu” for an average viewer would fail to comprehend. On that account, my translation contains an expression “pomalej blues” that depicts the meaning of the phrase aptly. The bare expression “blues” seems to be rather vague.
The other issue pertains to cultural references. The translation “v hospodě U Koruny a Kotvy” applies a word by word translation, which is not the best way of translating. Although the name is translated into Czech and is understandable, I suppose that the pub is unknown in the Czech context. Thus, an average Czech viewer cannot imagine what the pub is like. Therefore, my translation “v nějakým nudným klubu” offers the idea of the pub rather than a name that is not important for the story nevertheless. Freddie wanted to indicate that without him, Roger would perform from time to time in insignificant pubs.
FREDDIE FREDDIE FREDDIE
I’ve signed a deal with CBS Podepsal jsem smlouvu Podepsal jsem smlouvu se Records. s nahrávací společností CBS Records. CBS.
CBS Records, in the full name CBS Records International, was a record company operating from 1962 to 1991.83
Fantys’s version “CBS Records.” does not seem to be sufficient, although it could be quite recognizable from the whole sentence “Podepsal jsem smlouvu se CBS Records.” I believe that the information that Freddie signed a deal with another record
82 12/8 Blues: overview. Retrieved from https://truefire.com/blues-guitar-lessons/blues-survival-guide- rhythm/128-blues-overview/v2717# 83 CBS Records International. Retrieved from https://en.wikipedia.org/wiki/CBS_Records_International 119 company for his solo career is crucial; thus, my translation “Podepsal jsem smlouvu s nahrávací společností CBS.” comprises explanation.
BRIAN BRIAN BRIAN
You’re supposed to be in a rock Ty máš být v rokové kapele, Jseš v rockový kapele, a band, Freddie. Not the Village Freddie. Ne v nějaký disco ne v žádným disco People. kapele. bandu.
This example deals with a similar issue as the examples above. Fantys’s translation, as well as mine, offers a description of the band. Although the disco band “Village People” formed in the seventieths could be in awareness due to their massive hit “Y.M.C.A”84 the band does not need to be in awareness of the Czech viewers as much as the song.
ROGER ROGER ROGER
We can’t just reproduce Killer Nemůžeme zopakovat Nemůžeme kopírovat Queen. Killer Queen. Killer Queen.
ROGER ROGER ROGER
You just killed Queen. Zrovna jsi zabil Queen. Právě si zabil Queen.
FREDDIE FREDDIE FREDDIE
Oh, give it a kiss one day. She Polib ji jeden den. Možná Můžu královnu časem might wake up. se probudí. políbit, možná se probudí.
84 History - Village People. Retrieved from http://www.officialvillagepeople.com/history.html
120
FREDDIE FREDDIE FREDDIE
Why the hell would you say Proč bys sakra říkal něco Proč to sakra říkáš? Tady something like that? Roger, there’s takovýho? Rogere, v této může bejt jenom jeden only room in this band for one kapele je místo pro jednu hysterik a „queen“. hysterical queen. hysterickou dámičku.
These examples concern the name of the band “Queen” and its possible translation. I selected a few different examples where this name is applied.
In the first example, the name Queen is a part of a famous song “Killer Queen” hence, mine, as well as Fantys’s translation, comprises the original name.
The second example deals with a similar situation. The band name “Queen” cannot be translated since the name of this particular cultural reference is essential for the story. “You just killed Queen.” refers to Freddie abandoning the band, which leads to the answer “Oh, give it a kiss one day. She might wake up.” In my opinion, Fantys’s translation “Můžu královnu časem políbit, možná se probudí.” captures the point successfully since it explains the previous phrase “Právě si zabil Queen”.
The third part differs from the previous ones. The collocation “hysterical queen” is not written with a capital letter; therefore, I believe that Freddie does not refer to the band name, however, to another matter.
According to the online Cambridge Dictionary, “queen” is furthermore both a designation for “a woman who rules a country” (as mentioned above) and “an offensive designation for a gay man”.
Having contemplated two options “buzík” and “dámička”, I opted for a denotation “dámička”. “Rogere, v této kapele je místo pro jednu hysterickou dámičku.” does not insinuate directly to the fact that Freddie is gay; however, it describes the behavior of someone who acts in that way. Fantys’s translation, “Tady může bejt jenom jeden hysterik a ‘queen’.” seems to be not correct. An average Czech viewer is aware of the word queen as a denotation for a female monarch; however, I believe that the denotation for a gay man is less known. Therefore, I am afraid that this translation cannot be understood.
121
FREDDIE FREDDIE FREDDIE
“Spread my wings and Fly Přesně. „Roztáhni křídla a „Roztáhnout křídla a away.” odleť.“ odletět.“
In this excerpt, the name of the song “Spread my wings and Fly away” ought to be translated in the case to make sense in the whole context.
Freddie is about to abandon the band for a deal that he signed with CBS Records. He intends to make his music and be independent. Therefore, he asks, “Jak je ta písnička? Fly away?” and John replies, “Spread my wings and fly away.” Freddie says, “Přesně. Roztáhni křídla a odleť”.
Fantys, as well as I, translated the name of the song since it is an essential message for the story. From my point of view, Freddie refers to this information personally to himself. Thus, I think that the statement should be addressed to the second person of a singular number and not translated using infinitives as the official subtitles offer “Roztáhnout křídla a odletět”.
FREDDIE FREDDIE FREDDIE
Pint of lager. Thank you. Jedno pivo. Děkuju. Pivo. Děkuju.
This excerpt deals with two issues, measurement and its substitution and a sort of beer. The definition says that lager is “a type of beer that is pale in color and usually contains a lot of bubbles”. Pint is a measure for liquids resembling a half liter. The British pint has a larger volume than the American one (Merriam-Webster, “lager”, “pint”).
The correct translation of this word “lager” would be “ležák”. My translation and Fantys’s comprise a general expression “pivo” that could give experts from the brewing industry the impression of inaccuracy. However, when we take into consideration the fact that most of the viewers are not-experts, the designation “pivo” is sufficient.
122
The current theory of translation tends to preserve a national specificity. The question is what belongs there that should be preserved. Although measurements as feet, pints, or gallons are embodied in a national specificity, Czech audience are not aware of their size. An imperial system is often converted into a metric system (Levý, 1998, p. 119, 124).
Despite this fact, I decided not to convert it in a metric system, literally since one pint is circa a half liter, and it is widely known that the beer in pubs is drawn into the glasses of a volume of one-third liter or a half liter. The bare expression “pivo” is not wrong, but my translation “jedno pivo” sounds more natural to me.
ROGER ROGER ROGER
Ready, Freddie? Můžem Freddie? Jseš ready, Freddie?
The example pertains to the use of English words in the Czech translation. Fantys opted for “Jseš ready, Freddie?”. There is nothing wrong about it from the view of translating; however, I believe it is unsuitable for the time in which is the movie set. The author of the screenplay did not integrate modern expression used nowadays (e.g., “Whazzup?” instead of “What’s up?”) as well in the case to maintain the authenticity of that time. Thus, I suppose that the translator should respect it.
In my opinion, the author of the screenplay refers to one part of the one of the Queen’s song called “Crazy Little Things Called Love” with lyrics “I ain’t ready” and “Until I’m ready” in which, Roger Taylor adds this phrase “Ready, Freddie?”
I suppose that Czech viewers would not be aware of the relation with the song; thus, I decided not to use it in the original language. Moreover, I did not want to use Anglicisms, although they are used by Czech native speakers nowadays. Thus, my translation of this part, “Můžem Freddie?” comprises no foreign words.
123
JIM BEACH JIM BEACH JIM BEACH
[…] I called to convince him to […] Volal jsem mu, abych ho […] Volal jsem mu, aby squeeze you guys into the lineup přesvědčil a vmáčknul vás vás protlačil do lineupu for the Live Aid concert, […] do programu koncertu Live koncertu Live Aid, […] Aid, […]
This example deals with a similar issue as the one before. “Do lineupu” does not seem to be the best of translation as it does not correspond to the time of the movie. Therefore, the Czech expression “do programu” is more suitable for this particular use.
FREDDIE FREDDIE FREDDIE
I’m not the leader of Queen, I’m Já nejsem hlavní člen Nejsem lídr Queen. Jenom only the lead singer. Queen, jsem jenom hlavní frontman. zpěvák.
The same case concerned with as the previous ones above. Fantys’s translation “Nejsem lídr Queen. Jenom frontman.” fits in today’s time thus, I opted for “Já nejsem hlavní člen Queen, jsem jenom hlavní zpěvák.”
MARY MARY MARY
Freddie, you’re burning the Freddie, takhle za chvilku Freddie, děláš toho moc candle at both ends. vyhoříš. najednou. Shoříš jak svíčka.
FREDDIE FREDDIE FREDDIE
Yes, but the glow is so divine. To jo, ale ten žár je božskej. Ale ten plamen je Being human is a condition that Být člověkem je diagnnóza, božskej. Být člověkem je requires a little anesthesia. která vyžaduje trochu té stav vyžadující trochu anestezie. anestezie.
124
According to the online Cambridge Dictionary, idiom is “a group of words in a fixed order that have a particular meaning that is different from the meanings of each word on its own”. It means that idioms have somewhat figurative sense than literal.
The mentioned idiom was not easy for me to translate. I struggled with the continuity of the two following extracts. I had to take into consideration the subsequent part that is essential for the previous one.
According to the idiom, “to burn the candle at both ends” means to go to bed late and get up early.
Mary refers to the fact that Freddie’s style of life is unhealthy. I did not want to rewrite the literal meaning of the idiom, “Freddie, chodíš pozdě spát a brzo vstávaš”. I needed to translate the first part in the way so that the second part makes sense.
If it were not for the subsequent one, I would choose the variant where I would only describe the meaning of the synonyms. Thus, Mary would say, “Freddie, tvůj život je hektický.” However, it would not sound appropriate with the following part where Freddie responds that the glow is so divine.
JOURNALIST NOVINÁŘ NOVINÁŘ
So, you really did see behind the Takže jste opravdu náhlédl Takže jste věděl, co je mask? pod pokličku? zač?
Newmark asserts that translating a metaphor is a significant difficulty since it comprises figurative expression applying a collocation or word that does not literary indicate, however, it refers to a figurative expression whose sense of a physical word is transferred (1988, p. 104).
It is quite challenging to find an appropriate equivalent for a metaphor in a target language. My main aim was to maintain both the meaning of the information
125 and the metaphor. I hesitated between two phrases, “Vidět za oponu.” And “Nahlédnout pod pokličku”.
Furthermore, of course, it is essential to know the context at the same time to understand the metaphor in a suitable version. Newmark states that the whole text should be read at least twice before translating a single sentence to see the intention, register, tone, etcetera. (1988, p. 51).
The highlighted part is an excerpt from a TV interview where Paul talks about Freddie’s private life in detail, which elicited the mentioned question.
“So, you really did see behind the mask?” translated as “Takže jste věděl, co je zač?” is semantically correct, without any doubt. Even if the content is correct, the form of the translation is essential in this case as well. The author of the screenplay inserted a metaphor; thus, I believe the aim ought to be preserved.
JOHM REID JOHN REID JOHM REID
You’re firing the wrong snake. Vyhazuješ špatného hada. Vyhazuješ nesprávného You’ll regret it. Budeš toho litovat. zrádce. A budeš toho litovat.
This example pertains to the metaphor “snake”. Although the translation “zrádce” is correct, I decided to keep it as a metaphor. I translated it as “hada”. The use of an expression “had” is connected to a betrayer in the target language as well. Thus, I respected the aim of the author of the screenplay.
FREDDIE FREDDIE FREDDIE
Shut up. Sklapni. Zmlkni.
BRIAN BRIAN BRIAN
Oh, shut up! Už drž hubu! Zavři zobák!
126
ROGER ROGER ROGER
It’s not bloody widgets we’re To nejsou žádný Neděláme žádný making. We can’t just reproduce napodobeniny, co děláme. kolovrátky. Nemůžeme Killer Queen. Nemůžeme zopakovat Killer kopírovat Killer Queen. Queen.
ROGER ROGER ROGER
Well, you can play your own No, tak si na ty blbý bicí hraj Tak si do hajzlu hraj na bloody drums, then. sám. svý bicí.
ROGER ROGER ROGER
Another word out of you, and I’ll Ještě slovo a vyhodím tě Ještě cekneš a vyhodím tě throw you out the bloody window. z toho zasranýho okna. z okna.
These examples deal with vulgarisms and possible intensifiers.
Vulgarisms come under taboo words. The use of the intensity of vulgarisms depends on society and time. These circumstances should be taken into consideration when translating (Knittlová, 2003, p. 65).
The movie comprises plenty of various vulgarisms; however, I decided to examine only two of them. The aim was to compare the intensity of vulgarisms in English and Czech language. These parts concerns with selected vulgarisms that are utilized in various scenes; however, in the target language, they are translated differently. I had to take into consideration not only the situation but also nature of a character. When translating, I tried to use various types of vulgarism to distinguish the intensity.
The vulgar expression “Shut up.” is compared in two examples. When translating, I had to take into consideration the context of the scenes. The first example where Freddie says, “Shut up” is an excerpt from a family birthday party. Having considered the characters taking part (e.g., Freddie’s parents and Mary’s father), I opted for milder vulgarism “Sklapni.” as well as Flantýs, “Zmlkni”.
127
Nevertheless, the second example, where Brian says, “Shut up”, requires stronger expression since the scene is emotionally charged. Freddie being under the influence of narcotics is delayed for a band rehearsal. He argues with Roger and Brian, and hence, I chose an expression “Už drž hubu!” for the target language. “Zavři zobák!” is correct; however, it does not seem to be suitable for the particular situation.
According to the online Cambridge Dictionary, “bloody” is “used to express anger or to emphasize what you are saying in a slightly rude way”.
I opted for three examples where an expression “bloody” is used with various types of intensity. These examples are classified according to their strength. In the first example, the phrase “bloody widgets” is concerned. The scene is played in Ray Foster’s office, where the potential album is discussed. This scene is not emotionally tense; thus, my translation “žádný napodobeniny” as well as the official subtitles “žádný kolovrátky” do not comprise any intensifier.
The second example, “bloody drums”, excerpted from the more intense scene, is set in a rehearsal studio. The band argues about a song composed by John Deacon that is, according to Roger Taylor, a disco song; therefore, he refuses to play it. However, Freddie Mercury, influenced by narcotics, wants to play it and states that he decides what is played. Freddie’s statement caused Roger’s response, “Well, you can play your bloody drums, then”. Considering the scene and temperament of Roger, I intensified the phrase using an adjective “blbý”, and the official subtitles suggest an expression “do hajzlu”.
The last part the most intensive one, set in Freddie’s mansion Garden Lodge, where Freddie is about to start his own solo career as he received an offer from CBS Records and signed a four million dollar deal. Paul Prenter, being hated by the other members of the band, tries joying their discussion, which exasperates Roger, who says, “Another word out of you...and I’ll throw you out the bloody window”.
Therefore, the phrase “Ještě cekneš a vyhodím tě z okna.” although being translated correctly appears to be too mild for the particular scene; hence, my translation “Ještě slovo…a vyhodím tě z toho zasranýho okna.” seems to be adequate to my mind.
128
BAGGAGE HANDLER ZAMĚSTNANEC ZAMĚSTNANEC LETIŠTĚ LETIŠTĚ Oi! You missed one, Pakkie! Hej! Jeden si propásnul, Jeden ti ujel, Pakoši. Pakoši!
In this part, the main character Freddie Mercury, who is an immigrant, is called “Pakkie” by one of the “British” employees. The denotation is somewhat abusive due to two main reasons people having the nationality of Pakistan are Pakistanis, and the character of Freddie is an Indian Parsee born in Zanzibar, today’s Tanzania. The question is, what was the reason calling him that way. Great Britain is a multi-ethnic country. One of the most substantial minority is Pakistanis (Arnstein, 1983, p. 373- 376).
In the 1950s and the 1960s, a vast amount of immigrants originating primarily from the West Indies, Pakistan and India, Caribbean, West Africa had a legal right to migrate to the United Kingdom as they were citizens of the countries that pertain to the Commonwealth. This stereotype is rooted in the period when Great Britain colonized African and Asian countries and was part of slave trading (Arnstein, 1983, p. 373-376).
According to the online Cambridge Dictionary, “oi” is “an exclamation used as a not very polite way of getting someone's attention, especially when you are angry”. Compared to my translation, where I used an interjection “hej” being more suitable for this context than “bacha” that was among options as well.
The official Czech subtitles do not comprise the interjection; however, the message of the statement is to be balanced with an informal expression “ujel”. Yet, I believe that this exclamation is essential for the extract. The main character is addressed “Pakkie”, which is an abusive denotation for people from Pakistan and not only for them as not all immigrants in the UK in that time originated from that country. Thus, the interjection “oi” as well as addressing “Pakkie” intensifies the message of the statement.
129
FREDDIE FREDDIE FREDDIE
No, we cannot keep calling him Ne, nemůžeme mu přece Už mu nemůžeme říkat “Jim Beach.” No, that’s absurd, not říkat Jim Beach. Ne, to je „Jim Beach“. Je to to mention, unspeakably boring. absurdní zmiňovat, absurdní, a navíc Miami. From now on, I dub thee nepopsatelně nudný. Miami. nevýslovně nudný. Miami. “Miami Beach”. Od teď, staniž se „Miami Od teď budiž nazýván Beach“. „Miami Beach“.
FREDDIE FREDDIE FREDDIE
Ye of little faith. Vy nevěřící. Ty malověrný.
These two excerpts deal with two outdated forms“ thee” and “ye” of a pronoun “you”.
“Thee” is an “object form of thou, used when speaking to one person” (Cambridge Dictionary, “thee”).
“I dub thee ‘Miami Beach’.” is used by Freddie when naming the band lawyer Jim Beach as “Miami Beach”. Having searched this phrase, a lot of links referring to Shakespeare occurred. I find this scene to appear opulent and obsolete. Hence, my translation comprises “…, staniž se ‘Miami Beach’.” Fantys’s translation “…, budiž nazýván ‘Miami Beach’.” perhaps correct the use of passive voice is useless since target language prefers utilizing active voice to the passive one.
Moreover, “ye”, “an old use, is a word meaning ‘you’, used when talking to more than one person” (Merriam-Webster, “ye”). The phrase “Ye of little faith.” is excerpted from the Holy Bible, where Jesus Christ’s divinity was doubted. It is used for those who doubt about Christian Church as well.85
Freddie alludes to the fact that the band members do not have confidence in him as for composing two albums in a short time. Therefore, he applied this phrase to make the scene more expressive.
85 'O ye, of little faith' - the meaning and origin of this phrase. Retrieved from https://www.phrases.org.uk/meanings/262250.html 130
Although the Fantys’s translation “Ty malověrný.” seems to be correct, it is not since referring only to one person. As mentioned above, the expression “ye” is utilized for two or more people. Thus, I believe that my translation “Vy nevěřící.” is more appropriate. Furthermore, “malověrný” and “nevěřící” refers to the Church.
KASHMIRA KASHMIRA KASHMIRA
Hi, Papa. How was work? Ahoj tati. Jak bylo v práci? Ahoj tati. Jak bylo v práci?
In this case, a familiar name papa referring to a common noun father is applied.
According to the online Merriam-Webster Dictionary, the term “papa” is rather used in British English. Another definition claims that this addressing is either informal or bit old-fashioned; however, the time in which the film is set needs to be taken into consideration. Other possible designations are ,e.g., papa, pa, dad, daddy.
This term or its derivation used by other languages, e.g., French originates from Greek Papas, was spread through Latin to other Roman languages and then to the other language families as well.
I was contemplating whether to translate or leave this denotation in an original version to maintain authenticity. Despite this fact, I decided to substitute it with a Czech familiar addressing “tati” since that hypocorism. However, being familiar with the Czech speakers is not so deep-seated in the Czech context.
JER JER JER
But you just got here, beta. Ale zrovna jste přišli, beto. Zrovna jste přišli, beta.
131
Being Indian-Parsee, Freddie’s mother Jer addresses her son Freddie “beta”, which is a Hindi word for “boy” or “son”. By this addressing, McCarten refers to the Bulsara’s Indian roots. 86
I vacillated whether to apply Czech addressing as “synku” or “dítě” or to keep the original one. The Czech addressing would be easier for the Czech audience to understand; however, despite this fact, I decided to stay the McCarten’s reference to Bulsara’s Indian heritage. Moreover, a few references to Freddie’s and his family’s roots occur throughout the whole movie, and therefore, I assume that Czech viewers will comprehend it from the context.
The other issue concerns declining the word “beta”. From my point of view, the original subtitles “Zrovna jste přišli, beta.” do not seem to be accurate. The addressing “beta” ought to observe Czech grammar rules. My translation “Ale zrovna jste přišli, beto.” is declined in vocative that is used when addressing.
CHERYL CHERYL CHERYL
Where’s your loo? Kde máte vécko? Kde je tu záchod?
BOMI BOMI BOMI
Kashi, put on the telly. Kashi, zapni telku. Kashi...pusť televizi.
These two examples represent informal British words. According to the online Cambridge Dictionary, the words “loo” and “telly” are “informal British expressions for toilet and television.
When translating, I was about to use the same expression for loo “záchod”. Having considering the setting of the scene and the nature of the character mentioning it, a young girl accompanying Roger to Freddie’s and Mary’s apartment; therefore, I used the more casual expression “vécko”.
86 Beta. Retrieved from http://hindi-english.org/index.php?inp=beta&anz=yes
132
Freddie’s father, Bomi, used an informal expression “telly” for television. I hesitated whether to maintain the informality or to apply a common denotation. The nature of this character had to be taken into consideration. Bomi is an older serious gentleman who follows his principles. However, on the other hand, he is a nice hearty man, whose family is in the first place.
In this particular scene, Bomi is not as serious as he usually acts. Since he realizes that his son Freddie although being different from his father, observes his principles as he does, which Bomi always repeats, “good thoughts, good words, good deeds”. Despite these circumstances, I decide on more casual denotation. Instead of “Kashi...pusť televizi.” as Fantys opted for, I applied the more casual one „Kashi, zapni telku.”
BRIAN BRIAN BRIAN
Nice chap. Sympaťák. Sympaťák.
Knittlová claims that English is an analytical language; thus, it uses more multi- word expressions than Czech that is instead a synthetic language. Multi-word expression incorporates a semantically poor word and a word with a semantic bearer that can be either denotative or connotative. The core of the nominal phrase is the noun that classifies the phrase. English multi-word expressions are predominantly translated into Czech with the aid of one-word expressions. (2003, p. 36).
In this particular example, the word “chap” classifies the whole noun phrase, and the word “nice” does not bear a vital meaning and only modifies the core word.
During the process of translation, I tended to translate this multi-word expression word by word. The formulations as “milej chlápek” or “hodnej kluk” occurred to me. Having considered many options, I realized that Czech is typical of being a synthetic language. Thus, I eventually opted for the one-word expression “sympaťák”, surprisingly the same translation opted the author of the official subtitles.
133
MARY MARY MARY
[…] But then everyone else was […] Ale to tam na sobě měli […] A všichni ostatní tam in, like, long dresses? How všichni dlouhé šaty? byli v dlouhejch šatech. bizarre. You all right? Docela zvláštní. Jsi Fakt bizarní. Jsi v pohodě? v pohodě? Docela zvláštní. Jsi v pohodě?
“Quite frankly, she is the heart of the movie” 87(Rami Malek). Malek describes the character of Mary as a shy and kind person in the simple term “the heart of the movie”. I cannot imagine that a person who is described in this way would say, “A všichni ostatní tam byli v dlouhejch šatech.”
I prefer the less informal possibility, “Ale to tam na sobě měli všichni dlouhé šaty?” The expression “dlouhejch” does not fit somebody as Mary considering her gentleness and kindness that she is endowed with. Therefore in my translation, Mary expresses herself in more standard language than the members of the band.
When translating, a translator should take into consideration the fact that the language expression should be influenced by the notion of a character, not vice versa. A character and his or her language expression can develop throughout the story. Knowing the whole development, sometimes, a translator applies this knowledge from initial scenes (Levý, 1998, p. 188).
MARY MARRY MARRY
Thank you. Děkuji ti. Fakt dík.
87 Rami Malek & cast on Bohemian Rhapsody | Film4 Interview Special. Retrieved from https://www.youtube.com/watch?v=77NEXFbuPoI&t=4s
134
A similar case the one above where the translation “Fakt dík.” is not the most suitable. The aim was to sound ironic by saying, “Thank you.” not upset. Thus, my translation “Děkuji ti.” comprises standard English to emphasize the irony.
MAN MUŽ MUŽ
Yeah, they’re better than last Jo, jsou lepší než minulej Jo, jsou lepší než minulej week. týden. tejden.
MAN MUŽ MUŽ
See you, mate. Čau, kámo. Měj se.
The aim is to compare two extracts of the scene that are set in one of the London pubs where the band “Smile” performs. Since the setting of the scene is informal, the target language is non-standard in both versions.
When the first part, where the official Czech subtitles are more informal than mine, is taken into consideration, the other part should be kept in a similar style. As the original text is, “See you, mate.” the official translation “Měj se.” does not seem to be sufficient. Addressing the other man as “mate” is commonly used by younger people. Furthermore, even in the target language, the addressing “Čau, kámo. ” sounds more natural for younger people who are friends as well than simple “Měj se.”
JER JER JER
Where are you going? Kam jdeš? Kam máš namířeno?
FREDDIE FREDDIE FREDDIE
Out with friends. Ven s kámošema. Za kamarádama.
135
Even though the sentence “Out with friends.” translated as “Za kamarádama.” is accurate. I would select an informal expression more fitting to a young adult.
Having considered the context of the scene and characters acting, I resolved to use an informal phrase in the target language. The setting is at Bulsara’s home, where Freddie is making conversation with his mother with whom he has a good relationship; thus, I find this situation accurate for casualness.
The official subtitles provide the character of Freddie with an informal language; thus, I believe it should be maintained. Therefore, I opted for the following version, “Ven s kámošema.”
JOHN JOHN JOHN
That’s it. He loves you. To je ono. Žere tě. Konec. Miluje tě.
This excerpt is similar to the one above. After many experiments recording the highest soprano, Roger manages to reach the highest tonality. The scene is a relaxed atmosphere. Therefore, I opted for the more casual and informal phrase “Žere tě. ” than Fantys whose translation “Miluje tě.” is although correct; however, it is too dull.
FREDDIE FREDDIE FREDDIE
Makes you the clever one. To musíš být ten chytrej. To musíš bejt dost chytrej.
The official translation “To musíš bejt dost chytrej.” does not seem to be the most authentic. On the one hand, when only this exact part is focused on, the translation would not have to be incorrect; however, on the other hand, the text has to be translated as a unit. A subtitler should be aware of the fact that during the process of translation, not only verbal communication but also the non-verbal should be considered to understand the message of the particular scene.
136
In this scene, Freddie asserts that Brian is the clever one since he is astrophysics. When declaring it, Brian looks at Roger, amusedly knowing that Freddie insinuates that Brian is smarter than Roger.
FREDDIE FREDDIE FREDDIE
[…] We’ll mix genres, we’ll cross […] Smícháme žánry, […] Smísíme žánry, boundaries, we’ll speak in bloody překročíme hranice, překročíme tongues if we want to. zazpíváme to v hymnech, hranice…Budeme mluvit když budem chtít. jazyky, když se nám zachce.
According to the online dictionary Merriam-Webster, “to speak in tongues” means “to say strange words that no one can understand, especially as part of a religious experience”. Hence, Fantys’s translation “Budeme mluvit jazyky, …” gives me an impression of vagueness as it does not explain. My translation suggests an adequate description understandable for Czech viewers with the phrase “Budem mluvit biblickou řečí, když budem chtít.”
FREDDIE FREDDIE FREDDIE
[…] Now, even though you’re […] I když brečíte jako tři […] Bulíte tu jako tři crying like three little girls...I still malý holky…i tak vás malý školačky, ale mám love you. miluju. vás rád.
This example concerning multi-word expressions is similar to the one above, however slightly different in this case. An expression “little girls” translated as “holčičky” or “děvčátka” do not sound right in this particular text. Thus, I translated this sentence word by word “I když brečíte jako tři malý holky…” since the phrase “brečet jako malá holka” is commonly used in the target language.
137
Furthermore, I do appreciate the inventiveness of the author of the original subtitles where the expression “three little girls” was translated as “tři malé školačky”. I consider it a successful and original translation.
138
5. Conclusion The bachelor thesis, “The Film Bohemian Rhapsody: Translation and Analysis,” discussed a translation and analysis of the film Bohemian Rhapsody based on the life story of the British rock band. The film narrated about “Queen” and presumably about the lead singer, Freddie Mercury.
The thesis introduced three main parts, i.e., “The Film Bohemian Rhapsody”, “Theoretical Part”, and “Practical part”.
The part titled “Bohemian Rhapsody”, involved the process of the film formation and the historical context. The film formation apprised of the process of shaping the story and the whole film, including cast, in collaboration with the producer, screenwriters, contemporary members of the band, and the other associates. Furthermore, historical and cultural context rendered imperative information about the era in which the film is set.
As for accumulating information concerning the film, I preferred deriving from primary sources, i.e., video interviews and both printed and electronic sources that warranted accuracy and authenticity.
In the theoretical part, the theory of translation introduced the elementary concepts of translation, i.e., translation as a process, as a product, and translator. These concepts were presented to demonstrate the importance required to understand the concept of translation. I dealt with equivalence and potential problems or differentness. The crucial information was derived primarily from books of these erudite authors, Peter Newmark, Jiří Levý, Dagmar Knittlová, and Roger T. Bell.
The practical part presented my personal translation and analysis. The transcript of the film that I translated was based on a draft (mentioned in the bibliography). I transcribed it from the film with the help of this draft. During the process of translation, the stress was laid on maintaining the author’s intention, i.e., to delineate Queen and especially Freddie not only as a person talented in music but also as a gentle, kind, and insecure human being; and the naturalness of the source language in the target text, therefore, I applied the method of free translation, i.e., transferring the content and not the form. Furthermore, in the analysis of the translation, the transcript, my translation, and the official translation were compared. I selected the
139 extracts different in the semantic, pragmatic, and formal connotations, moreover, the cultural references, familiar terms, and colloquialisms were discussed. I compared these parts to demonstrate how the target language differs from the source language and, additionally, how the translation can be processed differently.
The primary goal of this thesis was to reach a successful translation being faithful to the original text out of consideration for the Czech audience.
I cannot assess whether my goal was accomplished as I am entirely engaged in this process, and my opinion would be objective. Furthermore, I believe that every translator is not absolutely satisfied with their work, and I do not seem to be an exception since I would correct my translation incessantly. However, I dare say that I am proud of my coping with translating a more extensive translation. The other goal, not less significant, was to present the rock band, Queen. I presented this band both from the professional musical side and the personal as well.
Furthermore, in the analysis of translation, I examined the extracts that captured my eye, demonstrating differentness. Nevertheless, by comparing the two translations, mine and Fantys’s, I did not want to criticize Fantys’s piece of work, not in the least. I would not dare to do so. I only wanted to suggest the varieties of translation that I personally find more suitable.
This bachelor thesis enabled me to achieve my personal goal, i.e., to improve my translation skills and knowledge either. As for the practical part of the translation, this experience taught me a lot, predominantly the mistakes I made and subsequently corrected. Concerning the theoretical part, I could learn from great authors, i.e., Newmark, Levý, and Knittlová. Furthermore, this thesis allowed me to acquaint more with the band, Queen. I truly enjoyed the theme of my bachelor thesis.
140
6. Bibliography
DVD
Bohemian Rhapsody by Brian Singer, performance by Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy, Joseph Mazzello, 20th Century Fox, 2018.
Print Sources
Arnstein, W. L. (1983). Britain yesterday and today 1830 to the present. Lexington, Massachusetts: D. C. Heath and Company.
Bell, R. T. (1991). Translation and translating: Theory and practice. New York: Longman.
Jones, L.-A. (2018). Bohemian rhapsody: the definitive biography of Freddie Mercury. London: Hodder.
Knittlová, D. (2003). K teorii i praxi překladu. Olomouc: Univerzita Palackého.
Levý, J. (1998). Umění překladu. Praha: Ivo Železný.
Lloyd, T. O. (2000). The British Empire, 1558-1995. New York: Oxford University Press.
May, B. (2017). Queen in 3-D. The London Stereoscopic Company.
Newmark, P. (2001). About translation. Clevedon: Multilingual Matters Ltd.
Newmark, P. (1988). A textbook of translation. New York: Prentice-Hall International.
Starr, L., & Waterman, C. A. (2007). American popular music. New York: Oxford University Press.
Storry, M., & Childs, P. (Eds.). (1997). British cultural identities. London: Routledge.
Williams, O. (2018). Bohemian rhapsody: the inside story: the official book of the film. London: Carlton Books.
141
Online Sources
12/8 Blues: overview. (n.d.). In Truefire. Retrieved March 15, 2020, from https://truefire.com/blues-guitar-lessons/blues-survival-guide-rhythm/128- blues-overview/v2717#
About Queen. (n.d.). In Queen Official Site. Retrieved April 3, 2020, from http://www.queenonline.com/queen
An Introduction to 20th-century England. (n.d.). In English Heritage. Retrieved March 27, 2020, from https://www.english-heritage.org.uk/learn/story-of- england/20th-century/
Anthony McCarten. (n.d.). In IMDb. Retrieved April 10, 2020, from https://www.imdb.com/name/nm0565026/bio
Beta. (n.d.). In English Hindi dictionary. Retrieved February 27, 2020, from http://hindi-english.org/index.php?inp=beta&anz=yes
Bloody. (n.d.). In Cambridge Dictionary. Retrieved from https://dictionary.cambridge.org/dictionary/english/bloody
Bohemian Rhapsody: Fox Movies. (n.d.). In 20th Century Studios. Retrieved from https://www.20thcenturystudios.com/movies/bohemian-rhapsody
Bohemian Rhapsody. (n.d.). In IMDb. Retrieved April 3, 2020, from https://www.imdb.com/title/tt1727824/fullcredits
Bohemian Rhapsody - The Movie. (n.d.). In Queen Official Site. Retrieved February 25, 2020, from http://www.queenonline.com/features/bohemian-rhapsody-the- movie
Bohemian Rhpasody Brian May & Roger Taylor Behind The Scenes Interview. (n.d.). In Youtube. Retrieved April 3, 2020, https://www.youtube.com/watch?v=Dyg012-nOGA
Bohemian Rhapsody World Premiere Anthony McCarten. (n.d.). In Youtube. Retrieved April 3, 2020, https://www.youtube.com/watch?v=Og8X6k79P4A
142
Brian May. (n.d.). In Queen Official Site. Retrieved April 4, 2020, from http://www.queenonline.com/brian_may
Britain in the 1960s and 1970s: ESOL Nexus. (n.d.). In British Council. Retrieved March 1, 2020, from https://esol.britishcouncil.org/content/learners/uk- life/life-uk-test/britain-1960s-and-1970s
CBS Records International. (n.d.). In Wikipedia. Retrieved February 27, 2020, from https://en.wikipedia.org/wiki/CBS_Records_International
Freddie Mercury. (n.d.). In Queen Official Site. Retrieved April 4, 2020, from http://www.queenonline.com/freddie_mercury
History - Village People. (n.d.). In Official Village People. Retrieved March 17, 2020, from http://www.officialvillagepeople.com/history.html
History offers Britain an important lesson on shutting down immigration. (n.d.). In The Conversation. Retrieved March 29, 2020, from https://theconversation.com/history-offers-britain-an-important-lesson-on- shutting-down-immigration-65840
How Kiwi Anthony McCarten wrote the Queen movie Bohemian Rhapsody. (n.d.). In Noted. Retrieved April 10, 2020, from https://www.noted.co.nz/culture/culture-movies/bohemian-rhapsody-kiwi- anthony-mccarten-wrote-queen-movie
Humpy Bong. (n.d.). In Academic Dictionaries and Encyclopedias. Retrieved February 25, 2020, from https://enacademic.com/dic.nsf/enwiki/2593674
Humpy Bong. (n.d.). In Wikipedia. Retrieved March 20, 2020, from https://en.wikipedia.org/wiki/Humpy_Bong
Idiom. (n.d.). In Cambridge Dictionary. Retrieved from https://dictionary.cambridge.org/dictionary/english/idiom?q=Idiom
John Deacon. (n.d.). In Queen Official Website. Retrieved April 5, 2020, from http://www.queenonline.com/john_deacon
Loo. (n.d.). In Cambridge Dictionary. Retrieved from https://dictionary.cambridge.org/dictionary/english/loo?q=Loo
143
Luxury Hotels & Resorts: The Ritz. (n.d.). In Carlton. Retrieved February 27, 2020, from https://www.ritzcarlton.com/
Movie Script. (n.d.). In Springfield. Retrieved August 15, 2019, from https://www.springfieldspringfield.co.uk/movie_script.php?movie=bohemian -rhapsody
Muhammad Ali Biography. (n.d.). In Biography Online. Retrieved March 20, 2020, from https://www.biographyonline.net/sport/muhammad-ali.html
Music Played in the 1960's Popular Music From the 60s. (n.d.). In The People History. Retrieved April 3, 2020, from http://www.thepeoplehistory.com/60smusic.html
Music Played in the 1970's Popular Music From the 70s. (n.d.). In The People History. Retrieved April 3, 2020, from http://www.thepeoplehistory.com/70smusic.html
'O ye, of little faith' - the meaning and origin of this phrase. (n.d.). In The Phrasefinder. Retrieved from https://www.phrases.org.uk/meanings/262250.html
Oi. (n.d.). In Cambridge Dictionar.y Retrieved from https://dictionary.cambridge.org/dictionary/english/oi?q=Oi
Papa. (n.d.). In Merriam-Webster. Retrieved from https://www.merriam- webster.com/dictionary/papa
Petr Fantys. (n.d.). In Databáze českého uměleckého překladu. Retrieved April 10, 2020, from https://www.databaze-prekladu.cz/prekladatel/_000005716
Petr Fantys. (n.d.). In PeoplePill. Retrieved April 10, 2020, from https://peoplepill.com/people/petr-fantys/
Pint. (n.d.). In Merriam-Webster. Retrieved from https://www.merriam- webster.com/dictionary/pint
Queen. (n.d.). In Cambridge Dictionary. Retrieved from https://dictionary.cambridge.org/dictionary/english/queen
Queen. (n.d.). In History and Biography. Retrieved April 4, 2020, from https://history- biography.com/history-of-queen/
144
Rami Malek & cast on Bohemian Rhapsody | Film4 Interview Special. (n.d.). In Youtube. Retrieved March 2, 2020, from https://www.youtube.com/watch?v=77NEXFbuPoI&t=4s
Rock. (n.d.). In Grove Music Online. Retrieved April 3, 2020, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561 592630.001.0001/omo-9781561592630-e- 0000049135?rskey=coQG40&result=4
Rock. (n.d.). In Grove Music Online. Retrieved April 3, 2020, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561 592630.001.0001/omo-9781561592630-e- 1002257208?rskey=coQG40&result=5
Roger Taylor. (n.d.). In Queen Official Site. Retrieved April 5, 2020, from http://www.queenonline.com/roger_taylor
Speak in tongues. (n.d.). In Merriam-Webster. Retrieved from https://www.merriam- webster.com/dictionary/speak%20in%20tongues
Telly. (n.d.). In Cambridge Dictionary. Retrieved from https://dictionary.cambridge.org/dictionary/english/telly
The 1960s, The Decade that Shook Britain. (n.d.). In Historic UK. Retrieved March 29, 2020, from https://www.historic-uk.com/CultureUK/The-1960s-The- Decade-that-Shook-Britain/
The History of Smile: The Band That Set the Stage for Queen. (n.d.). In Ultimate Classic Rock. Retrieved March 20, 2020, from https://ultimateclassicrock.com/queen-smile-band-history/
Thee. (n.d.). In Cambridge Dictionary. Retrieved from https://dictionary.cambridge.org/dictionary/english/thee?q=Thee
Translation. (n.d.). In Merriam-Webster. Retrieved from https://www.merriam- webster.com/dictionary/translation
Ye. (n.d.). In Merriam-Webster. Retrieved from https://www.merriam- webster.com/dictionary/ye
145