DUBBING HISTORY

The American film industry was seriously affected at the beginning of the decade of the thirties due, first to the Great Depression that spread to all areas of the economy, the industry of film production did not escape this crisis, they thought the sound would be enough to reactivate it, however, it eventually became the main cause of American cinema’s loss of its large audience, Latin American and European fundamentally.

Hollywood's first attempt to win back the public that consisted of remaking films that had already become famous American stars, with foreign players in multiple languages.

It was thought at the option of subtitling but the large number of illiterate wasn’t viable. In addition to the language of film is largely based on images, same cannot be fully appreciated, if the public has focused its attention on reading subtitles.

The dubbing is consolidated from the sixties, with its ally the TV: it was allowed into the privacy of homes.

And it was the most effective mechanism to attract American film industry the Latin American audience once and for all.

To achieve success with Hollywood, dubbing had to spend time.

The actors had to perfect a technique that allowed them to lip sync and wing time intentions to allow the magic of believing that it was they themselves who spoke.

Dubbing itself emerged as a technical problem; outdoor scenes were heavily contaminated with the ambient noise, so the same actors should bend "Reset Dialog".

It is noteworthy that in many cases the same actors could not bend, failed to repeat their same tones or synchronization, as actors had to resort to more technical skill.

In 1944 two representatives were sent to Mexico by Metro Goldwyn Mayer in order to recruit actors to establish their studios in New York for Spanish dubbing.

They hired Luis de Llano Palmer to make this selection; it essentially called radio actors considering them more able to express themselves only through voice.

In New York the one commissioned to prepare these actors was Carlos Montalbán brother Ricardo Montalbán, who was already employed by MGM.

The first film to be dubbed in 1944 was Gaslight.

Cast:

Ingrid Bergman-Blanca Estela Pavón

Charles Boyer-Guillermo Portillo Acosta

Joseph Cotton-Victor Alcocer

Carlos David Ortigosa-Gregory Peck

The reactions were diverse, first considered a serious competition for the national film industry; hence the Mexican government banned its exhibition in the early fifties.

Between 1947 and 1948 almost all hired actors gone to New York returned, since Mexico and Argentina had banned the display of dubbed films.

It’s in the late 40s when dubbing in Mexico begins to become more professional way. De la Riva in association with Monty Kleiban, built the first Dubbing company in Mexico: Rivaton de America.

There were also attempts to film dubbing in Churubusco studies attempt also failed by law prohibiting the dubbing for the movie theaters.

Edmundo Santos and Carlos David Ortigosa associate and begin to bend to Walt Disney. Movies like:

Cinderella

Peter Pan

One Hundred and One Dalmatians

Alice in Wonderland

The dubbing of animated films was allowed.

TV is finally consolidating dubbing industry with series like I Love Lucy, Dick Van Dyke, Perry Mason, Doctor Kildare, Ben Casey, The Nurses, The Beverly Hillbillies.

One of the first series dubbed in Mexico was Cisco Kid in Rivatón.

Cast. Luis Aragon and Omar Jasso, and later Pedro De Aguillón are replacing Luis A.

The dubbing for television beginning in 1953, three years after the first television transmission made during the presidency of Miguel Alemán. The growing demand for foreign television programs because some entrepreneurs to open multiple dubbing rooms in our country.

One of the first series dubbed in Mexico was Cisco Kid.

Cinematográfica Interamericana, S.A.

In 1958 Ortigosa forms his own company in partnership with Robert W. Lerner. Becoming one of the most important, it shows were "I Dream of Jeannie", "Get Smart", "The Untouchables," "The Carol Burnett Show," etc.

CINSA was sold to Televisa in 1982. 

Servicio Internacional de Sonido, S.A.

Shortly after Thompkins & Associates closed, Enrique Candiani, son of CLASA manager, in association with Antonio Carvajal opened a dubbing room, known as Servicio Internacional de Sonido (SISSA).

Some series were The Count of Monte Cristo and others. 

It is said that at work in this room was very important Narciso Busquets, who took in his hands the direction of dubbing and it was very important part in the preparation of many actors. He had begun his experience in dubbing bending to the same national productions, from 8 years. 

This company was sold to Televisa in 1982.