One thing is certain about The Devil Wears Prada 2: The ambitious undertaking of making a sequel of a cult status film after 20 years has succeeded, at least as far as box office figures are concerned. The numbers speak for themselves, with $77 million generated in US theaters and another $157 million in the rest of the world since its April 29 release.
In the face of such a box office smash, this installment has inspired heated debates for days about its quality and comparisons to the original. In Italy, those arguments even extend to the dubbing of the film.
The controversy stems from the choice of voice actors in the Italian version of The Devil Wears Prada 2, who are themselves a nod to continuity; it’s the same cast as the original. Connie Bismuto is back to voice Anne Hathaway as Andy, Francesca Manicone dubs Emily Blunt as Emily, Gabriele Lavia is once again Stanley Tucci’s Nigel, and above all, Maria Pia Di Meo, the actress who has been the familiar and expressive voice of Meryl Streep in practically all the Italian adaptations of recent years—including the fearsome Miranda Priestly—returned for the sequel.
While many fans were happy to revisit these familiar voices, other viewers noticed some idiosyncrasies, largely due to the advanced age of the voice actors themselves, especially Di Meo and Lavia.
Di Meo, born in 1939, is undoubtedly a master of Italian dubbing, and her performances, linked to such great Hollywood actresses as Jane Fonda, Julie Andrews, Mia Farrow, Barbra Streisand, and Streep, have made her one of the most recognizable and expressive voices of cinema in that country’s theaters.
Yet some say her performance now reveals too much of the passage of time and that there’s a disconnect between her 87-year-old voice and that of a character as energetic and sharp as Miranda (played, in the original, by a 76-year-old Streep). Could this nine-year gap be too great to bridge? The same has been said of Lavia, who dubs Stanley Tucci with a result that often sounds a bit forced.
But more than a question of age, perhaps there’s a broader discussion to be had about dubbing in general and its effectiveness in an era in which downloads first and then streaming platforms have accustomed us to seeing more and more content in the original language.
Even just listening to the trailers released online for The Devil Wears Prada 2, a native Italian speaker will notice not only that the voices that have aged into varying degrees of mismatch but also that the speed of the lines makes them hard to follow. And what about the adaptation of the dialog? “I’m a features editor at Runway,” Anne Hathaway’s Andy says proudly, but how many of those who live outside newsrooms know what a features editor is? And again, when Miranda’s second assistant says, “I have to pee, I drank a venti,” how many people outside of the US understand on the fly that she’s referring to a Starbucks drink?
Perhaps, then, what hasn’t aged so well is not so much the voices of individual dubbers but a dubbing system that no longer keeps pace—in most cases—with the speed and specificity with which the content itself is produced. In the face of this consideration, however, one cannot ignore that, at least in a market like Italy, especially at the cinema, people overwhelmingly go to see dubbed versions of movies.
So these same online debates perhaps serve to keep attention focused on how many countries outside of the US experience these films. And one that deserves not only greater respect but also a quality that isn’t fully guaranteed with today’s frenetic pace.
This story originally appeared on WIRED Italia and has been translated from Italian.
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