Lost in Translation: Hollywood’s Foreign Remake Obsession

Only around 30% of the dialogue in Quentin Tarantino's 'Inglourious Basterds' (2009) is English, the rest is subtitled.

So should it technically be considered a 'foreign language film'?

In the words of The Academy, a foreign language film is; "a predominantly non-English speaking motion picture, regardless of where it was produced."

Can you imagine anyone having the nerve to remake a Quentin Tarantino film? One would conclude that to be a resounding no, so why does Hollywood constantly feel the need to do so to other directors and filmmakers?

I was left disheartened after the announcement that cinema-goers will soon be met with yet another Hollywood remake of an incredible piece of non-English speaking cinema, this time, a Chris Rock-directed take on Thomas Vinterburg's brilliant 'Another Round' (2020). A profound but joyful story of four middle-aged friends testing a theory that there is an optimal level of blood alcohol content that makes you more productive and creative. They of course take it too far.

"Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films." Bong Joon-ho

Bong Joon-ho utilised subtitle implementation as an art form for his Oscar-winning (first subtitled film in 92 years to win Best Picture) 'Parasite', allowing audiences to understand the cadence and impact of emotion and humour at key moments rather than a generalised ‘localisation’. Creative intent delivered through words and imagery on screen in synchronised harmony.

Something the hugely successful Netflix hit 'Squid Games' was at the time criticised for, its lacklustre application of the medium resulted in misinterpretations of entire character arcs.

Due to the commercial and critical impact of 'Parasite', we are (thank the cinema Gods) unlikely to see an English-language remake on our screens. However, it perhaps came too late to save us from a host of cinema-sins including Spike Lee’s 2013 remake of the iconic 'Oldboy' (2003), no to mention 'The Upside' (2017), a totally unnecessary remake of the stunning 'Les Intouchables' (2011) and the insanely small two-year gap between 'Let Me In' (2010) and 'Let the Right One In' (2008).

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