----------------------------Original message---------------------------- >----------------------------Original message---------------------------- >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