Multilingualism In Film Analysis
A. Languages as narrative tools
The production of multilingual films may sometimes quite simply “stem from an interest in and desire to work with actors from different countries and language communities” (O’Sullivan 91). However, languages increasingly participate in constructing the narrative and film thematic. As explained by Baldo, the use of several languages can have a more symbolic function than merely mimic “a flavour of the author’s heritage language”. De Bonis believes the three main functions of multilingualism in films are the depiction of realistic situations, the expression of conflict and of confusion (170).
The function of realistic rendering especially applies to stories including characters of different nationalities. The use of several languages “enhance viewer’s perception of the reality depicted on screen” (De Bonis 170). The attempt to make
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Mingant noted that in certain multilingual films, the use of a particular language sometimes makes “the difference between life and death” as it can be used as an instrument of deception, disguise and power and lead to decisive happenings (725). Alfred Hitchcock’s film Secret Agent (1936) tells the story of two British secret agents assigned to murder a German spy. One of the characters clearly displays limited German skills in order to deceive them, since he eventually proves to be the spy in question (Ibid). In Inglourious Basterds (2009), language is also used as an instrument of disguise when characters try to pass for Germans or for Italians. Multilingualism might also be an instrument of power by underlining a character’s social standing and education, as it is the case in Alfred Hitchcock’s Strangers on a Train (1951) and again in Inglourious Basterds, in which some characters are “in a position of superiority thanks to their linguistic abilities” (Mingant
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