Maybe nit picking but it would be truer to say Italian movies have been traditionally post-synched. Dubbing really implies a version aimed at a "foreign" market. Some directors obviously payed more attention to the actors in this regard, notably VIsconti who, even with international casts in - say- The Leopard is very careful with the lip-synching of all the actors, including Delon and Lancaster. Other directors like Pasolini, however, are seemingly incredibly sloppy in this regard - although he was so often working with non-professionals this was inevitable. Fellini is another case in point - sometimes VERY careless in this regard. Remember Valentina Cortese's joke in Day for Night about being directed by Fellini and being told to count numbers to 20? Also, remember that Rossellini, for instance, made several movies in more than one version - Stromboli, Viaggio in Italia, Germania anno zero, etc. And Renoir made Italian, English and French versions of The Golden Coach. Argument can ensue about a preferred version but it has to be based on general acclaim, I think. For instance Viaggio in Italia was "read" in English by both Sanders and Bergman, ditto Europa '51, by Bergman and Alexander Knox, and despite the Italian settings the movies play best in English. Thus, I don't agree the native setting is always the best language choice. Contradicting my argument of course, is 1900 - given the sheer volume of Italian supporting actors in it, I am happier with the Italian version than the English version, despite the prominence of Sutherland, De Niro, Depardieu and Hayden (this a very small part really).
Again, I had some fondness for the French version of Il Conformista with Trintignant's and Sanda's own voices, and would love to have this soundtrack available as an extra on any forthcoming disc.