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The process of dubbing, as I understand it, requires fine taste and an acute sense of physical and vocal accords. It requires great skill, also, because the public ought to be kept in ignorance of the subterfuge as it is of other film devices, and rightly so, since the purpose of them is merely to add to the attractiveness of the picture. It would now seem that anonymous dubbing is no longer possible, because the French Superior Cinema Council has decided that " no dubbed film can be allowed unless the work of post-synchronization has been carried out in a studio or studios situated in French territory and unless it is shown to the public '" without any attempt to disguise the fact that it is a dubbed film, carrying the indication of the country where it was originally made the names of the artists who acted originally in the picture and the names of those who dubbed the parts ".
In this fashion, the problem seems definitely settled, but not in the best way possible.
There is also the question of the sub-titles or running comment printed at the bottom of the picture as was done, for instance, in " Sonny Boy ", and is still done with success in some modern films as ' Girls in Uniform ". I recognize that this method seems right when we are dealing with dramas or comedies of a typically national character, which cannot, without becoming ridiculous be taken out of their natural living framework. We cannot, for instance, imagine a Bancroft, in "Chicago Nights " speaking French, or any other language save the slang of Chicago bandits. Nor can we imagine a Napoleon speaking with the accents of a dweller in Whitechapel.
A third system is to substitute some artists by others, and to make as many versions of the picture as it is desired to issue editions of the same. This method places in relief the various characteristics of the races, unless there is an attempt to secure a uniformity of style and a modelling of the successive artists on the actors who make the first version. The contrasts thus obtained are not without interest.
In the film " L'Opera de Quat ' Sous ", it is easy to define the points which divide two mentalities and two diverse methods of feeling and revealing such feelings. Charles de St Cyr in " Semaine a Paris " though we no longer see his name in connection with the piece — wrote a careful study on this film which went to show that while in the French version of Pabst's picture the two principal actors Prejean and Florelle accentuated the satirical side of the film, illustrating it in a French spirit, in the German version, the actors, taking their roles more seriously, gave a certain dramatic heaviness to the piece, which was much appreciated beyond the Rhine (1).
We may classify with this type of film " Arianne, Russian Girl ", with Elizabeth
(1) One wonders why " The Beggars' Opera " was not filmed in English with English actors, who would have been able to render more exactly the inner sense and spirit of this English piece.