Dubbing Review: Harry Potter and the Chamber of Secrets (Brazilian Version)

One thing I thought would be interesting to include in a Thankful for World Cinema-themed post would be a closer look at dubbing. I have written about dubbing prior. However, in this instance I figured a suitable follow-up to the initial discussion of dubbing as a practice would be to take a closer look at a film by focusing on its dubbed track.

To be able to do this more easily I chose a film I was very familiar with (Harry Potter and the Chamber of Secrets) as well as choosing a foreign version I could analyze well (The Portuguese voice cast from Brazil).

Rupert Grint in Harry Potter and the Chamber of Secrets (Warner Bros.)

Here are my thoughts on the dub of the film:

Firstly, I think (and I may experiment to see if this holds true) that understanding key for viewer and casting. From a viewer’s perspective who does not speak the language they are then listening to it’ll play out like that scene in Home Alone where the kids are in Paris watching a dubbed version of It’s a Wonderful life and are befuddled by it. In cinematic terms, I think the dub, on closer inspection, does tamper a bit the the integrity of the soundtrack. At least with this film the voices were more isolated and separated from the rest of the audio mix. I’ll grant my set-up may have some to do with it, and perhaps disc settings.

However, I found that listening to this film in Portuguese was a very enjoyable experience in spite of some of these minor quibbles. There were, of course, necessary dialogue adjustments and changes of syntax in deference to making the sync match better, but more often than not the new line was analogous enough that the sacrifice of exactitude was acceptable. One example of these changes would be:

When Malfoy says to Goyle “I didn’t know you could read” the Portuguese translates back as “I didn’t think you could read.”

That’s a minor example, especially compared to what happened to Let the Right One In‘s subtitles on home video. In a lot of cases it’s rewording as opposed to rewriting. More often than not things are done beautifully in this dub actors have the proper inflections and are cast impeccably nailing so many characters dead-on; one small example would be Vernon. There is some word play beautifully adjusted so it still works in Portuguese. Some of the few lamentable things are ones that really don’t make sense and you think would be mandated like the Dr. Strangelove reference in Cornish Pixie scene is out and the Parseltongue is no longer jumbled.

When you know the script fairly well it really gives you more insight to technique. Examples being that stiff-lipped actors help such that the audience is easier to sell on a match of lip movement because of it. There are some more liberties taken with the precise wording when a line is delivered by a character whose mouth does not appear onscreen (whether in voice over or over-the-shoulder). Some lines, in the interest of matching, are accelerated or decelerated as necessary. The trick then becomes for the actors to keep the same intentions of the original while performing a very technical task and in this particular film that usually happened. At times this is not quite by design, every so often an actor would feel a bit too rushed, but considering some of the bad dubs I’ve subjected myself to it’s hardly worth belaboring.

]Charles Emmanuel in the studio for Harry Potter and the Sorcerer's Stone (Charles Emmanuel/Warner Bros.)

Watching the film in a different way you’re also on the lookout for different sections; one of the sequences that is absolutely nailed is the Dark Forest sequence. There are many standouts but perhaps the most prominent being Charles Emmanuel, with him it’s almost as if Rupert Grint had learned to speak Portuguese. The interpretation of the character was so in sync. Ana Lucia Grangeiro as Hermione is also excellent. She apparently was, if she no longer is, an incarnation of Monica.

Perhaps the biggest thing I realized in this viewing is that dubs themselves are productions, not unlike films. Some get it right, others do not. The Harry Potter series was a first class production in English, as well as in (Brazilian) Portuguese. Dubs also have the unenviable task of recreating the reality of the film for a new audience. I’ve not yet seen it, but my cousin told me how Darth Vader in Portuguese had a more robotic quality to his voice; and that it was almost a letdown when he saw it in English for the first time. Granted much of it has to to do with what you experience first, but that’s the point: a kid who’s still mastering reading, or can’t yet, will not be able to deal with subtitles. With the quality of dubs that Harry Potter received in Brazil it seems that many kids there got a fairly similar experience to the ones here.

Film score: 10/10
Dub score: 9/10

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Bela Tarr Retrospective: Werckmeister Harmonies (2000)

Introduction

As has become customary for winners of the Ingmar Bergman Lifetime Achievement Award at the BAM Awards, I have begun a Bela Tarr retrospective. The introduction and initial short film post can be found here and here.

Werckmeister Harmonies (2000)

So it’s been a little longer than I wanted it to be before I returned to this series and gave my first closer look at a title but here it is.

With Werckmeister Harmonies not only do you have Tarr fully embracing his new aesthetic but you also have him creating the trajectory of his remaining films. What can be found here is the opening salvo in the ongoing dialogue of his cinema. Some of the themes both visual and otherwise start here and you can feel them echoed in later works.

For example, the film begins with a shot of a piece of wood being added to the fire on an oven. Now, as it turns out here this is just the opening frame of a lengthy tracking shot, but the motif of wood-burning ovens, flames through the grate and things of the like reappear, most notably in the Turin Horse.

The opening shot is an intricate and quite a famous one. It is perhaps the most we will hear out of our protagonist. However, interestingly this protagonist is one whom for the most part is just a vessel with through which we can be shown the story, such that it is.

Werckmeister Harmonies (2000, Facets)

There are two significant and long speeches in the film and much like the only dialogue of consequence in The Turin Horse, the temptation to disregard it rather than trying to ferret out some semblance of meaning is compelling but erroneous. The first such extended piece of dialogue is right there in this opening tracking shot wherein Janos describes to bar full of inebriates the workings of the solar system. I read of a God Complex in one essay but the way Janos walks around observing the whale, being transfixed by it and assigning it no special significance, save for the wondrous work of God that it is, doesn’t quite mesh. I think the intent is likely to define Janos here for we will see little else throughout that does. He listens and does what he is told most of the time. Whether or not he does that to a fault is debatable, but what this is establishing is that he thinks on a simple matter and sees the wonder of it, much like a child would, and seeks to share his wonder. The barkeep lets him go on only so long before kicking him and everyone else out.

The second dialogue passage of significance is when the title the Werckmeister Harmonies is disseminated. It is a rant on musical theory on how the tuning of instruments and the regimentation of notes and octaves created something far more mechanical and less artful and organic than existed prior. On the surface it has nothing to do with anything else, save for the fact that it is this old man’s, Gyuri Eszter’s, obsession. However, it’s not the explanation that matters, but how he feels about it. He likens it to man tinkering with the work of God and here, yet again, we have a theological reference. Now, God here is being invoked in a more existential and cosmic way, rather than in a dogmatic way. It’s seemingly invoked as a larger ideal rather than a denominational claim, much like the the whale and the so-called prince, a dwarfish shadow-figure whose face is not shown threatens the natural order in the minds of many in the town, are.

As in much of Tarr’s work when he stayed shooting in black-and-white, moved the camera more and created a course the film is about decay. It’s about how we as human beings are always teetering on the edge of devolution and anarchy.

Werckmeister Harmonies (2000, Facets)

The sound of church bells in this film, much like in Satantango are ascribed and ominous connotation; similarly to that film a broken clock in a church starts working anew rather mysteriously. Much in the way many of the people, except Janos, interpret the whale in their own way. The allegory of the whale is perhaps the most powerful in Tarr’s filmography because for as large and imposing as it is, as much of a spectacle as it is, it can’t do anything. It does not do anything and neither does the feared Prince who evokes passion and creates followers. However, the people believe they can and do and that’s what causes them to react the way they do. The people want no change, in spite of its constancy, and when something threatens that they lash out.

The order the enraged mob seeks to be restoring is an illusion. It’s as much an illusion as film is, which could be why Tarr in this instance brought in two German actors, the wide-eyed, childlike Lars Rudolph as Janos and the formerly omnipresent Fassbinder vamp Hannah Schygulla; and had them speak their lines in German and then had them dubbed, and not necessarily in a way that syncs perfectly, because something it always off.

Uncle Gyuri Eszter, in his diatribe about the Werckemeister harmonies, states that what the struggle is as follows “the octave versus the note; the natural tune versus the manmade construct; the heavenly versus mundane; human hubris versus divine gifts.” And that’s much of what the struggle in this film is.

There are still mysteries to be unraveled. Many can assume, since we did not see him through much of the assault on the hospital, that Janos was not there. However, that long and significant tracking shot ends on him looking terrified after the violence stops upon the site of the frail old man who no one wants to harm. So one can wonder did he just witness it all, unable to stop it; or was he a party to it. Similarly is the account he reads in the church one he found or one he wrote himself. The film leaves them purposely vague. However, I think it correlates more with both his passivity and his folly that he was merely a witness. What is left unsaid the end that he was inactive in the assault and not the author of what he read.

Werckmeister Harmonies (2000, Facets)

When all is said and done he’s the perfect scapegoat. The society back to its so-called sense and must now restore order and the most logical scapegoat is Janos. They, meaning all the citizens, recognize neither God nor Man, so he must leave. The end of the film is uncle Gyuri Eszter going to see the whale. It is left out in the square on display where the madness began passive and immobile as it always has been.

It’s a film that’s really not about what happens, but why it happens and that answer is not nearly so nebulous people have willed it to be. They’ve assigned meanings based on their fears and ignorance and punished the guilty. In almost an eschewing of genre toward the end there is a helicopter, maybe verifying early rumors of military involvement, hovering in the sky behind Janos. It circles him quite bit, but it’s not going to try and barrel him over like the cropduster in North by Nothwest. It’ll just watch him and let him know that he’s targeted. He’s the odd man out because he embraced the whale and got the finger pointed at him and now he must go down the train tracks and out of town.

All that remains is delusion and lies, he’s told once and that’s the way it stays. It’s merely an illustration of that statement is what the film is. The people fear, they know nothing. They do not move on. The Prince is gone, the circus is burnt, the whale lies alone; an abandoned blasphemy and things go on unchanged.

In Defense of: Dubbing

(GrafittiStudio.Com)

It is quite easy to discuss what the cons of dubbing are. Many of us whether we consider ourselves to be filmsnobs or not agree with most if not all of them. Yet, I will within these paragraphs play devil’s advocate. To be completely frank, I’m doing more than that. I am taking a global view in this piece so while you will read me vehemently explain and defend dubbing as a necessity (in some cases, and an artform when done well) I do prefer to watch a film, in which I do not know the language, subtitled.

So very quickly here is the east part where we can agree on are the cons of dubbing:

Cons

When watching a film dubbed you are automatically submitting to a film wherein you are not witnessing the original vision of the director. The actors choices are re-interepreted as is his text. The edit is compromised in terms of intonation and inflection. The director’s choices are muted. A good dub will try and replicate as closely as it can what those choices are but a copy and a translation are not the same thing as hearing the original audio. Not to say that subtitles are impeachable. I know of at least two cases where edits tantamount to censorship occurred in subtitles making the theatrical release and the home video release quite different.

The biggest con for me, an American consumer who enjoys films from all around the world, is that many times in North American distribution dubbing is a “business decision.” This kind of decision is an attempt to broaden an audience which is niche to begin with and alienating the small but devoted groups of filmgoers who would watch subtitled fare (horror fans and the art house crowd to name two). Without wandering too much into the pro area the North American audience is not the base for which dubbing really is a functional, preferable alternative. We can pick and choose and those of us who will watch foreign films prefer subtitles.

When a film is dubbed suspension of disbelief becomes a major concern. Subtitles do add an artifice but it’s just relaying what is being said. You still hear it as intended. When a film is dubbed there is more artifice to it, it’s something you’re conscious of which is jarring you’re simultaneously distracted by detaching the voice from the actor and giving them a pass and gauging the abilities of the voice over artist. Then there’s the obvious that depending on what language the original was recorded in sync can be very difficult to accomplish at times, or in the worst cases completely disregarded.

And needless to say I have rarely if ever seen English dubbing that was palatable.

Pros

Charles Emmanuel in the studio for Harry Potter and the Sorcerer's Stone (Charles Emmanuel/Warner Bros.)

There is a technique to matching sync on dialogue. With care, performance and at times searching for synonyms or synonymous sentences it can be accomplished even when the languages in question have a large gulf between them.

So there’s technique, that’s fine, most would even be willing to grant that if they’ve seen halfway decent dubbing, however, too much dubbing experience is in Japanese monster movies of the 50s and 60s. There is, however, an art to it as well. Now I come to these conclusions because I speak two languages fluently (English and Portuguese) therefore if I am already familiar with material I can and have examined it dubbed and found some of them enjoyable. The first spark I had when I was about 13 I think and I saw Home Alone in Brazil and was rather impressed by how natural it managed to seem.

It was my most recent trip to Brazil that really got me thinking about dubbing more and differently. Just prior I had started to think of it because all of a sudden I did a “Where are They Now?” kind of search, the kind the internet seems specifically designed for and discovered that one actor who’s work I had enjoyed had taken to dubbing as he came of age and transitioned from being a child actor mostly on screen to mostly voice over work.

When in Brazil though I did some more watching and thinking. First, as I would often peruse the local showtimes seeking something to see (I ended up only seeing Harry Potter 7.2 there) I noticed things. For example, there was only one showing I could find in Rio for Winnie the Pooh that was subtitled. The reason is target audience. Little kids can’t read or very well so it’s easier for them to watch and comprehend a film from another country dubbed than it is subtitled. With most of the cinematic product around the world being American young people make it a necessity the world over.

However, children’s films and children as audience members only make up a small portion of the global box office Hollywood is so eager to conquer. The other reality dubbing addresses is that many countries throughout the world have lower than average literacy rate, thus subtitles present an issue. Many of the films coming out of Hollywood are easy enough to follow just a bit of assistance is needed to make it accessible to that many more people. Dubbing bridges that gap too.

So there’s a duality of purpose. The studios want a more impressive international gross and people the world round need entertainment. So its functionality is very clear. Especially when you consider the fact that the need for dubbing creates jobs for actors, recordists, editors and so on the world round in nations whose entertainment industries may not be as robust.

However, I needed to test the potential for artistry again. Being a kid seeing Home Alone, which I knew and still know quite well, opened the window in my mind allowing the possibility that seeing a dubbed film could be beyond tolerable but even enjoyable. However, the more we watch the more jaded we become. The more we study the less impressed we end to be. A new test case was needed. Again, Harry Potter fit the bill.

I must say that I did see The Deathly Hallows Part 2 subtitled, as it was a new film to me and I wanted to realize it fully. Therefore, considering it was the hot film series of the moment it was easy enough to find both on sale and readily available at people’s homes. My test case was Harry Potter and the Prisoner of Azkaban, in part because the “Where Are They Now?” actor (Charles Emmanuel) who I’d re-discovered as a dubbist played Ron Weasley in all eight films.

The first thing that struck me was how much better I knew the film than I thought. I knew it quite well indeed enough that I noticed the nuanced changes in language, syntax, intonation, inflection and so on that were made to make the film register as more natural in the language spoken. I reiterate that I must see a film many times before I can submit to seeing it dubbed but it is a masterfully well done job. I even managed to get the sense from it how one can become accustomed to and prefer the dubbed version when that’s all they’ve ever know, which is typically the case with animation. Only studio and network-based international networks show American programming mostly subtitled there.

So that was a revelation and then came another most recently and unexpectedly. I actuality this piece, though I have long pondered it would likely not exist without the following story. The reason that is so is that it’s all well and good to wax philosophical about the hypothetical (to the inexperienced) benefits of dubbing especially when most of them aren’t aesthetic but it’s another to get some insight into how two actors, each of whom portray the same character viewed their dubbing experience.

Dylan Riley Snyder

While on Twitter I saw a tweet from Dylan Riley Snyder (an actor whom you may know from either Disney XD’s Kickin’ It or Todd Solondz’s Life During Wartime) the link was a YouTube clip of scenes from Kickin’ It dubbed into Portuguese, the Brazilian version. I, of course, watched it and rather enjoyed it and was able to laugh at some of the same bits in the same way that I had in English.

The clips were uploaded to the dubbist’s personal Youtube but as of yet Snyder had not been able to discern if he had a Twitter account. After a quick search I was able to find it and relay it. So there I had discovered that the actor originating the role, to borrow the stage term, had heard the dubbist’s work and approved.

I was then further surprised by the ability to get insight into the other more unknown aspect of it, the voice over artist’s thoughts on his craft, his role and responsibilities. Bruno Dias had written a blog post and wanted a version translated to English so that Snyder could read it.

What I expected the post to be and what it was were two completely different things. I expected a cordial, complimentary, anecdotal re-telling of their interaction. What was surprising was the preface and the absolute sincerity and clarity with which Bruno Dias described his adopted and beloved form of acting and also the parallels drawn, respect felt for and connection he made with the actor whose work he is interpreting.

It is and always will be a much better explanation of how dubbing can be an artform than I can ever write so I suggest you read it. If one treats their work behind the microphone with the commitment and dedication that an actor onscreen and respects their interpretee’s process and interpretation they will be successful and yes it will be artful.