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>Don Larsson's comment on Fellini's post-dubbing reminded me of the
>actually "dubbed" version of his Amarcord, which I originally obtained on
>a video rental without asking for it and somewhat disgruntled.  I
>generally detest dubbings, because they're done with little or no sense
>of the music and flow of the original language.  But this was something
>different, and for a long time I held it up as the finest example of
>dubbing-into-English I knew.  Real loving care was taken by the producers
>in the selection of the English voice-actors.  They were uniformly
>"right," I thought, and Fellini-esque; although that raises other issues,
>I'm aware.  Anyway, you might like to check that film out in the dubbed
>version.
>
>There's also some curious off-synch "dub" effect in E La Nave Va.
>
>
It's interesting that AMARCORD which, I agree with you, is one of
the best dubbing jobs of a foreign film for U.S. release, was
done by Roger Corman's then-company, New World Pictures (as was
the dubbing for Bergman's CRIES AND WHISPERS). Releasing films
subtitled/dubbed forms part of the debate over the failure of
French films, particularly, to break into the American market.
Miramax is supposedly planning on releasing certain French films
first in a subtitled, then dubbed (assuming the film is at least]
marginally successful we suppose) versions, and has hired Mel
Brooks to supervise the first dubbing job.
Milos Stehlik
Facets Multimedia