Via @joblocom comes this excellent post by ‘Icons of Fright’ on what can only be described as a travesty in the U.S. DVD subtitling for fine Scandopire flick ‘Let the Right One In’:
Let The Wrong Subtitles In To LET THE RIGHT ONE IN?!
Let the ‘Icons of Fright’ post be a warning – always take subtitles with a grain of salt and, if you can, do a bit of research to find out what the story is behind the titling process for the pic you’re screening. I’m still recovering from my experience of two totally different subtitle tracks on my copy of Kurosawa’s magnificent ‘Throne of Blood’; as DVD Verdict puts it:
Of particular interest on this disc is the inclusion of two separate sets of English subtitles. In brief essays in the liner notes, Linda Hoaglund and Donald Richie explain their approaches to translating Japanese films for English-speaking audiences. Neither translation is completely literal; each one attempts in a different way to translate Kurosawa’s film in language that will be accessible to audiences and still maintain some level of artistry and the formalized language used both in the film and, to a lesser extent, the original Shakespearean source.
Richie is well-known to Kurosawa enthusiasts, having written extensively on his films and having provided commentary tracks for other DVD releases, notably Rashomon. He also has the distinction of having been acquainted with Kurosawa, even having the good fortune to be present at the filming of certain scenes from Throne of Blood. Hoaglund grew up in Japan as the daughter of American missionaries; she explains that she was fully immersed in both languages from a young age. Each of these experts have extensive experience in writing subtitles for Japanese films. Of the two I tended to prefer the Richie subtitles, as they seemed to be closer to a literal interpretation of the dialogue. This was reinforced by comments made by Michael Jeck during his commentary track. Jeck makes reference to specific bits of dialogue that take on an increased significance in the context of Japanese culture; Hoaglund’s subtitles, while capturing the right feel and a more poetic flow, sometimes tend to gloss over these elements.
For example, early in the film, Lord Tsuzuki receives word that Fujimaki’s rebel faction has been defeated. Hoaglund translates his message as simply an offer to surrender; Richie captures the fact that he actually offers to shave his head. For those familiar with Japanese samurai culture, shaving one’s head (as Jeck notes here and in his Seven Samurai commentary) is more than just a sign of surrender. It means that one must renounce the world entirely, and has little choice but to become a monk. This is surely more significant than just an offer to surrender; it indicates cowardice, since the rebel leader is willing to sacrifice his identity, his honor, and his stature as a samurai in order to save his life.
This is just once instance, but an important one, that leads me to prefer Richie’s subtitles to Hoaglund’s. On the other hand, she uses the highly preferable literal translation “Spider’s Web Castle” as opposed to Richie’s vague “Forest Castle.” Anyone wanting a fuller perspective on the film will want to watch it at least once with each set of subtitles.
Of course subtitles are important to me as they are a cornerstone of my viewing approach to bad films: When you’re watching a film so dire that you just can’t stand it, (yet you’re compelled to watch ’cause like me you love film), then the trick is, (if technically possible), to switch the Language Track on your DVD to a tongue you don’t understand and then turn on the subtitles in a language you do understand.
Do this and BAM!: Intensely average Nicolas Cage films like ‘Bringing Out the Dead’ become, when spoken in French with English subtitles, trenchant analyses of the American Psyche.
Anyhew, that’s my insight for this evening Dear Listener:
* Always check out the story behind the subtitles
* and Nicolas Cage is normally better in French
- – -
Screengrab at top adapted from image found at DVD Beaver
I remember some “subtitle expert” talking one time about subtitling mistakes. He said there was a scene in Cross of Iron (at least I _think_ that was the movie he was talking about) where the men are in the trenches and a number of tanks are coming towards them. One of them looks up and shouts out “TANKS!” in horror.
The French subtitles read “MERCI!”
The story sounds apocryphal, but I like it. :)
My most hated subtitling crime is in the US DVD of The City of Lost Children. There is a beautiful scene (as most scenes are in that film) where Wan/One (Ron Perlman) breathes hot air on the young girl's back.
The scene is almost uncomfortable since it almost implies a sexual -or at least a confused- tension between them (at least in the dirty mind of the viewer rather than anything actually being there).
He breathes on her back and says “RAD-IAT-ORRRRRR” in a wonderful, characterful purr.
The subtitles say “heater”. Awful. Boring. Sloppy. It almost ruins the film. My old (PAL) VHS subtitles were waaay better.
Region 2 (PAL) DVD is cropped fullscreen -at least on initial release.
one way around this of course is just to create your own story / write you own subtitles for a pic – be inspired by the images! this is what i've wanted to do with The Black Hole for ages:
http://www.thefilmtalk.com/2009/03/10/why-not-r…
By the way, I really liked Bringing out the Dead.
I'd have to look at it again to say why (or even if I still hold that view), but while it may not feature in most Scorsese Best-Of lists, it comes nowhere close to being a bad Nic Cage film.
Watch it in French my friend – it'll be even better!
Given that all translations are merely an approach to what an original dialogue conveys, I believe that the core message has to be in a translation. Sometimes it is simply not possible to translate word by word because the strength of a phrase in one language, may get “lost in translation”. As long as the story gets pulled forward and the main message is there, I think it's ok to “shorten” or simplify subtitles. I am bilingual myself, and have watched many films hearing them in one language and reading the subtitles in another. I found that the art of creating subtitles lays in keeping the momentum going, to not lose the audience by having them read “unnecessary” dialogue, but keep a fast paced energy, also allowing them to enjoy the picture itself. Movies all have parts of the dialogue embedded into the picture. So losing the ability to SEE a film due to having to read endless subtitles takes away from the whole movie experience for me.
Yes that makes sense Danielle – almost all subtitles shorten/condense – of course it seems the 'core message' of much of the dialog in 'Let the Right One In' was lost by indifferent subtitling -
Given that all translations are merely an approach to what an original dialogue conveys, I believe that the core message has to be in a translation. Sometimes it is simply not possible to translate word by word because the strength of a phrase in one language, may get “lost in translation”. As long as the story gets pulled forward and the main message is there, I think it's ok to “shorten” or simplify subtitles. I am bilingual myself, and have watched many films hearing them in one language and reading the subtitles in another. I found that the art of creating subtitles lays in keeping the momentum going, to not lose the audience by having them read “unnecessary” dialogue, but keep a fast paced energy, also allowing them to enjoy the picture itself. Movies all have parts of the dialogue embedded into the picture. So losing the ability to SEE a film due to having to read endless subtitles takes away from the whole movie experience for me.
Yes that makes sense Danielle – almost all subtitles shorten/condense – of course it seems the 'core message' of much of the dialog in 'Let the Right One In' was lost by indifferent subtitling -
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