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Published online by Cambridge University Press: 17 February 2024
Abstract: This chapter examines how two versions of one film – the German version, Die Nacht gehört uns (1929, dir. Carl Froelich), and the French version, La nuit est à nous (1929, dir. Carl Froelich, Henry Roussell) – were shown and received in Switzerland. Multilanguage versions (also known as multiple language versions or MLVs) were mostly produced to allow film production companies to market their films in different countries. In this context, Switzerland, with its multilingual tradition, is of particular interest. Here, both the German and French versions were released, according to the respective language region. The chapter shows that the MLV production wasn't just a successful practice with regards to countries of different languages, but also for multilingual countries such as Switzerland.
Keywords: multilanguage versions (multiple versions), speech in early sound film, noises in early sound film, historical reception, film theory
In Switzerland, the changeover from silent to sound film started in the summer of 1929. The Alhambra, a cinema in the French speaking town of Geneva, was the first to be refitted as a sound film theatre and made its debut in this capacity on August 2, 1929, marking the beginning of the sound film era in Switzerland. Alongside shorter musical recordings and a sketch, the main film to be shown was The Jazz Singer (1927, dir. Alan Crosland). The Capitol cinemas in the German speaking towns of Basel and Zurich followed with sound film premieres on August 13 and 14, 1929 respectively, with Show Boat (dir. Harry A. Pollard) as the debut sound film.
One of the main challenges the film industry faced with this new medium was the distribution and exhibition of films in one language in countries of other languages. Different methods were explored in the early years of sound films to market them abroad. Other than the now well-established practices of dubbing and subtitles, production companies also adopted a method which, in film historiography, is referred to as multilanguage version (MLV) production. In these cases, a film was shot in different languages, either with native speakers for each version or with multilingual actors starring in the various versions. These versions were mostly filmed scene-by-scene in all the languages on the same set. The films could then be marketed for different countries.
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