Yesterday evening Kinga and I watched Człowiek z Marmuru (“Man of Marble”), something of a 70’s Polish Citizen Kane, directed by Andrzej Wajda. I decided to watch it with the subtitles on, with the thought of possibly reviewing it for Anvil and Sprocket, a friend’s film review site.
I was horrified, though, at the pathetic translation for the subtitles. I would say no more than sixty-five to seventy percent of what was said was actually translated. The subtitles were more a summary of the dialogue than the dialogue itself. So many subtleties were completely dropped as a result that some of the more interesting characters in the film were simply flat, boring characters. If I didn’t know Polish, I would have said, “Oh, it’s okay.” But it’s not just “okay.” It’s a brilliant film, which does lose a bit of momentum at the end and Krystyna Janda does over-act a bit here and there. Still, the idea is solid – a Polish Citizen Kane that tracks the rise and fall of master mason Mateusz Birkut, a humble man who becomes a symbol of Polish Communist labor through propaganda films. It is one of the most accessible films for non-Poles, for there is a lot that depends on an intimate knowledge of Polish culture. But if you don’t know the language and rely on the subtitles, it is significantly diminished.
It got me to thinking about the art of subtitles. You certainly can’t write everything the characters say, for no one could read that fast and keep up with what the visual aspect of the film – which is, after all, somewhat important in film! And yet, you have to leave enough in to round out characters, else you get a film with flat characters.