In the late 1980s, there was a huge leap forward with the first laser subtitling machines, which enabled video reviewing, allowing corrections to be made right up until the last minute. Photograph: Allstar/Cinetext/Orion Classicsīurley recalls that when he first started out, subtitles were stamped into the film stock using a wax and chemical bath method the only way to correct typos would be to strike a new print.
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And in the riot scene, a woman’s desperate exhortation of “Vamos!” (“Come on!”) to a dying man whose head she is cradling is clumsily translated as “Let’s go!” – as though she thinks he is dawdling.Ĭoncerned not just by the problems with Roma, well publicised because of the Oscar-winning film’s high profile, but by a more general decline in subtitling standards, AVTE (AudioVisual Translators Europe) is collaborating with its member associations (including the British Subtitlers’ Association, Subtle) in a call for film-makers to cooperate more closely with professional subtitlers, reminding them that subtitling is a craft – an art, even – that ought not to be left to amateurs or automatic translation software.Īnthony Burgess’s subtitles for Cyrano de Bergerac won praise for their alexandrine form. The ATAA’s chairperson, Ian Burley, who has been subtitling French, Belgian and Italian movies for more than 30 years, also took a look at Roma’s English subtitles, and found them riddled with stylistic inconsistencies, sloppy synchronisation and clumsy line breaks or punctuation, all of which are liable to distract or discombobulate the viewer.
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In February, the ATAA (Association des Traducteurs/Adaptateurs de l’Audiovisuel) pointed out that the film’s French subtitles were full of grammatical errors, spelling mistakes and mistranslations. Two days later, the Castilian subtitles were removed.īut criticism of Roma’s subtitles didn’t stop there. In January, Alfonso Cuarón condemned Netflix’s decision to add Castilian-Spanish subs to his film Roma as “parochial, ignorant and offensive to Spaniards”, who presumably couldn’t be trusted to understand the Mexican accent. This year, however, subtitles have been attracting more attention than usual. But mostly you just speed-read and move on. Occasionally, you might thrill to Anthony Burgess’s English subtitles in alexandrine form for Cyrano de Bergerac (1990), or marvel at the bravura way Timur Bekmambetov threads animated subtitles into Night Watch (2004), or chuckle at the gaffes on old Hong Kong movies (“I have captured you by the short rabbits”). The perfect subtitle is one you don’t notice.
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