RADER / VERSER I SÅNGTEXTER SOM JAG HATAR

 För det första, jag kommer att använda de litterära internationella termerna. Vers istället för rad och strof istället för vers, så att det inte förväxlas.

J'accuse (jag anklagar) FRED ÅKERSTRÖM och STIG OLIN för TEXTFÖRRÄDERI. Båda två av de anklagade är, som väldigt många textöversättare / lyriköversättare, däribland undertecknad och åklagaren Sandra Dermark, ÄVEN textförfattare / lyricister.

Enligt Alexander Katourgi i kapiteln om lyriköversättning "Låt oss en sång tillsammans skriva" i Svenskan går bananer, det ska vara lika många stavelser som i originalet och de betonade stavelserna ska ligga på samma ställen. Både herr Åkerström och herr Olin är väldigt erfarna både som lyricister och som textöversättare, men dessa misstag ligger högt upp på åklagarens svarta lista av "översättningsankor", på delad förstaplats.

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Herr Åkerström bör först stiga upp till estraden för att försvara sin felöversättning av "like an eager Christmas child" i Jag ger dig min morgon.

Sångtexter måste vara på vers eftersom de kan inte existera utan musik. Engelskans lyrics är kognat (dvs släkt på annat språk) med svenskans lyrik och båda kommer från lyra, ett stränginstrument. Orden MÅSTE alltså följa ett versmått som finns i melodin med sina takter, toner, höjdpunkter, lågpunkter och pauser, och rätta sig efter dessa. Vilket gör att musiken och versmåttet kommer före meningen med orden i de flesta översättningar av sångtexter som är till för att sjungas. Däribland gammaldags operor (på 1800-talet), tecknade musicalfilmer (tänk Disney och dylikt) och insatserna av trubadurer som Povel Ramel, Cornelis Vreeswijk och Fred Åkerström, med vilka jag först hade närkontakt som åttaåring. 

Först som universitetsstudent som läste just till översättare lärde jag mig att Jag ger dig min morgon är en översättning från engelskan av Tom Paxton, I Give You The Morning. Men det finns en liknelse hos Paxton som Åkerström inte tolkar bokstavligen. Där Paxton har:

Like an eager Christmas child...

har Åkerström översatt:

Som ett rastlöst barn om våren...

(Istället för:

Som ett ivrigt barn om julen...)

Han tolkar "eager" som "rastlöst" och "Christmas" som "om våren," även om:

1. Vi alla vet och förväntar hur små barn ska bete sig juletid i vilken västerländsk kultur som helst.

2. Jul firas över hela västvärlden som barnfest sedan den viktorianska tiden.

3. Det finns lika många stavelser och samma betoning i "IV-rigt" och "RAST-löst". Dito med "om JU-len" och "om VÅ-ren". En bokstavlig översättning av liknelsen skulle passa likadant med samma resår i melodin, som att ta på sig ett par skor eller ett klädesplagg i samma storlek men annan färg.

Värför, Åkerström?

Peter Mosskins biografi av ovansagde trubadur säger:

"Våren, den som Karin Boye beskriver med orden 'visst gör det ont när knoppar brister'. När Fred sjunger 'som ett rastlöst barn om våren dagen kommer' anas smärtan, sårbarheten. Han är en rastlös person". 

Vi brukar förknippa överaktiva små barn och deras känslor med glädje, med hopp. Mosskin anar annorlunda. I Spanien, som född och fostrad medelhavsbo, känner jag dessutom till en vår, "primavera", som liknar mest av allt en nordisk tidigsommar. För mig är allt det här ironi på ett högt plan. Översättaren-trubaduren Åkerström har färgat liknelsen med sina egna känslor.

På universitetet lärde jag mig ett franskt talesätt; att det finns översättningar som är som vissa damer, vackra men svekfulla. Flera tolkningar av sångtexter, som Vreeswijks Jag hade en gång en båt (ursprungligen folkvisan Sloop John B) och Jag ger dig min morgon (för att ge ett exempel: originalet rimmar i de två första verserna "shoulder" på "the sun grows bolder"; Åkerström behåller första versslutet på "skuldra" och rimmar på "syns solen som en huldra", dvs ett skogsrå), tillhör denna kategori. Men det är nöden att anpassa sig till musikens prokrustesbädd i första hand som gjort dem till otrogna skönheter. I andra hand är det trubadurens hjärta, om översättaren är en trubadur, som kan förändra det som ej behövde förändras, till exempel omvandla iver till rastlöshet och julen till våren...

PS. Det finns en annan, mindre känd försvenskning av Jag ger dig min morgon, översatt av Owe Junsjö. Den finns i Pierre Ström-albumet I vädurens tecken. Hur tolkar den liknelsen?

Som ett ivrigt litet barn...

Rätt adjektiv, men inga hänvisningar till årstid.

Ändå är det Åkerströms mer personligt färgade och "vackra otrogna" tolkning som har förmörkat Junsjös som står närmare den engelskspråkiga förlagan. Först just nu som trettioåring lyssnar jag på Owe Junsjö-Pierre Ström-versionen och måste inse att det är synd att det är så få som känner till den fast den är mycket trognare Paxton.

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Herr Olin må nu stiga fram till estraden för att försvara sin översättning av "Sandmann, lieber Sandmann" eller "Sömnen kommer med John Blund". Versen (på lyriskt fackspråk) eller raden (på vardaglig svenska) i fråga låter så här i originalet:

Ehe jedes Kind ins Bettchen muss,

dvs.

Innan alla små barn måste gå i säng,

Och herr Stig Olins översättning låter så här:

Efter dagen blir man ganska trött

istället för

Innan alla små barn måste gå i säng (som också passar samma versmått - INN-an ALL-a små BARN MÅS-te GÅ i SÄNG). Men versen före slutade på -ött, och svensk lyrik kräver perfekta slutrim (jfr. i Herodes sång "Turn my water into wine!" som "Gör mitt vatten till MOËT!" för att förra versen slutade med -ett).

Ändå kommer versen på åklagarens svarta lista som delad etta med herr Åkerströms rastlösa barn om våren och båda gör henne lika arga. Värför? Hon har ADHD och som liten var hon det där ivriga, rastlösa barnet året runt. Hon var inte den sortens barn som blir ganska trött efter dagen, och nu som vuxen, fast hon tar sin medicinering, är hon samma person när hon har druckit koffein. Våran åklagare är inte den enda personen på jorden om har så mycket energi om kvällen och natten.

VI FINNER DE ANKLAGADE: SKYLDIGA! Både herr Åkerström och herr Olin kunde ha översatt dessa rader bättre!

SARA BOERO: IL VESTITO MASCHILE DELLA SIRENETTA

Finally Sara Boero did her analysis of the Little Mermaid and she focused on the queer elements in the tale and what she calls "un vestito maschile per andare a cavallo" (vestito maschile: mandsdragt / man's suit). But she notes that most Italian translations like Ippocampo (translator?) have "un vestito da amazzone," a dress for an amazon (female rider) with a skirt, for riding sidesaddle, which is the polar opposite of what Andersen says - and Boero also highlights that the many excursions on horseback and mountaineering that they do together (the prince and the Little Foundling exploring the land kingdom, both of them in breeches) are something two young men, whether a couple, friends, or brothers, would rather do in Andersen's nineteenth century. And she even says that these excursions would definitely be something that Andersen himself and Edward Collin (his patrons' son and secret lover, the inspiration for the prince) would have done together - there are no mountains in Denmark, but they would definitely ride around the countryside together, scale dunes, etc. 

Poi a questo punto in effetti la Sirenetta e il principe fanno un sacco di cose carine insieme, passano delle belle giornate come nel film, vanno a cavallo e lui le fa fare un vestito maschile per andare a cavallo insieme. E questo è interessante perché in tante traduzioni, anche quella Ippocampo, trovate scritto tipo "un vestito da amazzone", "un vestito (femminile) per cavalcare", ma nel testo originale lui scriveva qualcosa di intraducibile che suona un po' come un vestito da paggetto, diciamo. Comunque il punto è che la foggia di questo outfit non è il femminile, ha il pantalone, il pantaloncino adatto per andare a cavalcare. E torna al tema dell'identità sessuale. Ancora anche le attività in cui la coinvolge il principe sono molto maschili, escursioni, scalate in montagna, eccetera. Sembrano più appuntamenti tra due uomini per l'epoca, magari chissà appuntamenti realmente accaduti ad Andersen. Nel film Disney questa parte è davvero carina. È tutta quella sezione in cui Ariel cerca di farsi conoscere da Eric anche senza la voce. La vediamo prendere le redini del carro e fare dei salti spericolati. eh manifesta quella voglia di scoperta e di esplorazione che è la motivazione forte del personaggio e anche la meraviglia che prova la Sirenetta a trovarsi finalmente nel mondo degli umani. È bellissimo nei film Disney tutto il tema dell'uso degli oggetti, solo fantasticato mentre era sott'acqua e poi messo alla prova insieme a Eric in superficie. Super carino. 

My comment, questions to Sara Boero:

Davvero è da Andersen originale "en mandsdragt", un vestito maschile - peccato capitale che tante traduzioni italiane dicano un vestito DA AMAZZONE colla gonna (è anche peccato capitale che Ariel nella stessa scena nel film indossa un vestito da amazzone! La voldrevo vedere col pantaloncino!). Sto pensando a Cristina di Svezia ed a Giovanna d'Arco, colleziono delle illustrazioni della Sirenetta col mandsdragt/vestito maschile (in alcune, il setting è medievale e lei porta anche una capigliatura da paggetto alla Giovanna d'Arco, in altre versioni il setting è nell'Età Moderna e lei porta il codino alla Mozart come lo stesso principe).

Da dove hai tratto, Sara, che è un vestito maschile nell'originale? Dall'originale danese o da una traduzione (inglese? Italiana?)

E chi è il traduttore della versione Ippocampo?

But where does Sara Boero get her "vestito maschile / da paggetto" from? The original Danish or an English or Italian translation? And who did the Ippocampo translation with the amazon's dress?

SARA BOERO RISPONDE:

Ciao! Originariamente anni fa avevo scoperto che nell'originale danese il vestito è maschile dall'edizione commentata di Maria Tatar (in inglese). Allora ero andata a cercarmi l'originale danese e sì, la parola è quella che indichi tu (mandsdragt), che da come avevo capito è un "completo semplice da uomo" d'epoca (quindi può essere sensato tradurre "da paggio", per rendere l'idea). In molte edizioni inglesi ho visto che viene tradotto proprio come "da paggio", in italiano ho sempre visto solo "da amazzone" o "per cavalcare", mi sembra che non venga mai evidenziato (nelle traduzioni italiane) che il vestito è maschile: la traduzione dell'Ippocampo è di Alda Manghi e Marcella Rinaldi. Mi sembra un peccato, sì, è un dettaglio importante!

SANDRA DERMARK RISPONDE:

Un dettaglio IMPORTANTISSIMO, IL PIÙ importante, la mia scena preferita è QUESTA del vestito da paggio, le escursioni e le scalate in montagna... Ed è anche peccato che ARIEL non indosse il vestito da paggio! E come lo traduce l'edizione di Minalima e chi la ha tradotto?

Anch'io ho l'edizione commentata di Maria Tatar (in spagnolo) e adoro i suoi commentari, sopratutto quelli sulla Regina delle Nevi (sopratutto la Quarta Storia, perchè mi identifico un sacco colla Principessa Intelligente che ha letto tutti i giornali del mondo, ma si annoia e si sente sola ed ha tutto un iter di candidature per trovare il suo uguale intellettuale - è il mio personaggio di fiaba preferito)! E anch'io ho quella di Minalima in inglese! Quando avevo più soldi collezionavo le diverse versioni di Andersen per comparare le traduzioni e le illustrazioni... Nel mio Facebook ho per esempio una galleria dove comparo il vestito maschile (mandsdragt) della sirenetta/trovatella in diverse versione, alcune più medievale (col bob alla Giovanna d'Arco) e altre più settecentesche (col codino alla Mozart)...

SARA BOERO:

La versione Ippocampo è la Minalima italiana, traduzioni di Alda Manghi e Marcella Rinaldi.

THE FORETRUCK AND THE CROW'S NEST (POLISEMO)

 Me escribe Rolando diciéndome que lo han invitado a la Brigham Young University y aceptó la invitación, y le contesto, ¡logo!, que «That is the weight of the purple», añadiendo lo que sigue: «Traduciendo del español al inglés me parezco a Borges traduciendo del inglés al español. No, en serio, viejo, traduciendo Borges a Whitman, el fragmento de «Space and Time» que comienza diciendo "I ascend to the foretruck, / I take my place late at night in the crow’s-nest, / We sail the arctic sea, it is plenty light enough" lo perpetró como «Asciendo en la carreta / y en la alta noche tomo mi lugar en el nido del cuervo. / Divisamos el Océano Ártico, hay bastante luz»… sin darse cuenta de que subiéndose a una carreta y metiéndose en el nido del cuervo –un tipo tan grande como Whitman, arriesgando que el cuervo le sacase los ojos–, en esas condiciones es en verdad difícil divisar [We sail = ¿Divisamos?] el océano Ártico. Cuando lo lógico es que se trate de un barco y que el «foretruck» sea el palo del trinquete y el «crow’s nest» la cofa del vigía. Diríase que Borges jamás leyó a Julio Verne. ¡¡¡Peor!!!, ¡¡¡jamás leyó a R. L. Stevenson!!! (digo en el original inglés). Vamos a ver si resumimos: Borges fue un escritor incomparable en la lengua de Castilla, un interlocutor delicioso para despellejar hijueputamente al prójimo. y una catástrofe como traductor. Ni siquiera entendía el inglés cuasi materno, pero se las daba de entender el islandés. ¿Qué islandés, a no ser el que él se inventaba? Un abrazo, y jódete con el peso de la púrpura, como decimos los clásicos».

Esto lo decía un catedrático que tradujo bien a Whitman (foretruck=trinquete, crow's nest=cofa del vigía) en El Ojo de Polisemo 2015 (Polifemo, "mucha fama", es el cíclope bruto y estúpido; Polisemo, "muchos significados", es el astuto Ulises), conferencia de traducción literaria en la década de 2010 a la que asistí como estudiante de Traducción de la UJI. Durante la pausa para comer, bastante inspirada y achispada de champán, le pregunté a ese catedrático:

"Could you please tell me an F word that rhymes with duck?"

¡La cara de sorpresa y un poco de asco que puso el catedrático! Ni corta ni perezosa, yo digo:

"Foretruck."

"Aaah, foretruck!" dice él golpeándose la frente. Los dos rompemos a carcajadas hasta que le respondo:

"Hitherto I only knew two F words that rhyme with duck; that F word and firetruck (camión de bomberos). Now with foretruck, I know three!"

Más carcajadas.

Como decía Goethe, nunca jamás te acostarás sin saber una cosa más.

THE OLD GUARD AND THE NEW

With Akira Kenjo about to leave for University and a new season (Hugtto) waiting in the wings for next month, it is my proud duty to introduce you to Akira's successor, the first blond bifauxnen in Pretty Cure history!

Once she was a renowned figure skater, until a career-ending injury left her dreams in tatters. However, once given a second chance...

Homare Kagayaki (literally, Honour Sparkle) - The Second Chance

Cure Étoile - The Star of Strength

(same attribute as Akira/Chocolat, and also a French Cure name... purely coincidental?
I wonder if she will be wearing a skirt, or -what I would prefer- breeches; breeches and a queue, giving her a bifauxnen look also as a Precure -just like Akira/Chocolat- would be scrumptious!... The hairstyle looks already like a low ponytail -a queue-, but not much of either hairstyle or attire can be discerned from this close-up of Étoile)


Homare is a mature girl who excels at everything. However, she appears to have self-esteem issues, quitting figure skating after failing to complete a jump.
She also loves cute things and ice cream.

A stylish and mature classmate. She’s good at everything. She also used to be a figure skater. However, she stopped skating when she failed to do a jumping trick. She looking down on the sport since that event, but after the magical war breaks out, she can finally overcome her weakness. She transforms into the PreCure of strength, Cure Étoile.

There's also a proper lady on the team; a young film actress whose mum has also been before the camera. But like many other media stars, she just wants to be a normal overachieving student...

Saaya Yakushiji - The Primadonna

Cure Ange - The Angel of Wit

Class representative. She’s gentle as an angel towards anyone. Her mother is a famous actress, Saaya herself has been an underage film star; however she doesn’t know what she really wants to do in the future. When she desires to help in the battle and become a braver/stronger person, she transforms into an intelligent PreCure, Cure Ange. (She also has a love for spicy foods; who would think of that?)

Anyone else shipping them already?

Hug-chan:

A mysterious baby girl that falls from the sky along with her guardian, a hamster yousei named Harry.
She’s being chased by the Dark Tomorrow company. The world is overflowing with the power to create tomorrow called Tomorrow Powerer. Hug-chan seems sensitive to it, and becomes weak if the power is decreased.

Harry Harryham:

A yousei hamster with a Kansai dialect. He falls together with Hug-chan from the sky. His role is to guide the PreCures, but it seems he often fails to make them motivated. When he transforms into a human, he becomes a very good looking and stylish guy!

The premise of HUGtto Pretty Cure:

This is a Future Crystal.

Not only does it power the Prehearts (the Hugtto Cures' transformation devices); in fact, this is the McGuffin that fuels the whole series (like kirakiraru before it).

- The new enemies are called “Organization Criers” (are they the mooks/monsters of the week of the Dark Tomorrow Company... or are there, like in YGO Zexal, two different, antagonistic villainous factions? I would also prefer, as you know, monsters or weapons made out of corrupted muggle people!) and the key antagonistic elements are the “Kirai Crystal” (literally, the Hatred Crystal)

However, there’s a nice turn of events when Hug-chan and Harry, a hamster guardian, fall from the sky.

Suddenly, the Dark Tomorrow Company appears and want to steal Hug-chan’s Future Crystal; they summon a scary monster to claim said crystal by force...

With the strong desire to protect Hug-chan, a new Future Crystal appears every now and then and transforms the girls who wish to protect Hug-chan into Pretty Cures!

A Future Crystal is a crystalized form from Future Powerer, the magical power that can create a shining future and is overflowing in this world.

If it’s stolen, everyone’s future will disappear, also Hug-chan’s future.

The story of those who should protect important things is about to begin!

Preheart: 

the transformation trinket. It's a smartphone (heartphone), that serves as a communicator in the usual smartphone mode; and as transformation trinket in heart-shaped mode.

Our two bifauxnen Precures of Strength coming face to face, 

Akira/Chocolat bestowing the honour upon Homare/Étoile. 

Changing of the guard in advance for next month...


PS. A close-up of Étoile has at least slightly disappointed me. Turns out that her transformed form has, instead of a queue and breeches as I expected, a high ponytail and a puffy skirt:

Another thing that disappointed me is the values they defend... due to a mistranslation of "chikara" as "strength", so let me clarify this:

Homare's/Étoile's virtue is power, "chikara," (力) as in potential, being able to do something.

Akira's/Chocolat's virtue is strength, "tsuyosa," (強さ) inner strength or strength of character.

So it turns out that maybe princely young man aura, boyish short hair, and a French alter ego name are the only things that these two have in common... (SIGH!!)

 

¿MIGAJA SALAZ?

STAR WARS: RETURN OF THE JEDI

Salacious Crumb, the reptilian monkey-monster, crouched by Threepio's head, picking out the golden droid's right eye.  

Acuclillado encima de la cabeza de 3PO, Migaja Salaz el monstruoso y reptilesco mono, intentaba arrancar el ojo derecho del dorado androide.
(Official Spanish translation)

According to Spanish SW fandom authorities, it is wrong to literally translate the name of Salacious Crumb as Migaja Salaz.
Still, the official Spanish novelization of Return of the Jedi translated it that way...

DIAL MFT FOR...

MURDERED FILM TITLES, which are an area of expertise for fiction translators in Spain. Here are some of the most notorious changed film titles (now we've added an Easter egg at the end of the list: highlight to read it):

• Dial M for Murder: Crimen perfecto (Perfect Crime)
• Murder by Numbers: Asesinato un, dos, tres (Murder One, Two, Three)
• The Living Daylights: Alta tensión (High Tension)
• Home on the Range: Zafarrancho en el rancho (Ruckus on the Range)
• Some Like It Hot: Con faldas y a lo loco (With Skirts On/In Skirts and the Crazy Way). The Latin American title is Una Eva y dos Adanes (An Eve and Two Adams)
• Thunderball: Operación trueno (Operation Thunder)
• Breakfast at Tiffany's: Desayuno con diamantes (Breakfast with Diamonds)
• Arsenic and Old Lace: Arsénico por compasión (Arsenic for Mercy's Sake)
• Kind Hearts and Coronets: Ocho sentencias de muerte (Eight Death Sentences)
• Die Hard: La jungla de cristal (The Crystal Glass Jungle)
• The Towering Inferno: El coloso en llamas (The Colossus in Flames)
• Airplane!: ¡Aterriza como puedas! (Land the Best Way You Can!)
• Spy Hard: ¡Espía como puedas! (Spy the Best Way You Can!)
• Naked Gun: ¡Agárralo como puedas! (Seize It the Best Way You Can!: a whole saga of parody film titles were translated with ¡...como puedas! in Castilian Spanish - anyway here's the rest of the saga)
• Kevin of the North: Esquía como puedas (Ski the Best Way You Can!)
• Family Plan: Acampa como puedas (Camp the Best Way You Can!)
• Free Money: Asalta como puedas (Assault the Best Way You Can!)
• Mafia: Estafa como puedas (Scam the Best Way You Can!)
• 2001: A Space Travesty: Despega como puedas (Blast Off the Best Way You Can!)
• Teen Wolf: De pelo en pecho (With Hair on his Chest)
• Weekend at Bernie's: Este muerto está muy vivo (This Corpse is Very Alive)
• The Money Pit: Esta casa es una ruina (This House is a Ruin)
• North By Northwest: Con la muerte en los talones (With Death on One's Heels)
• Bell, Book, and Candle: Me enamoré de una bruja (I Fell for a Witch)
• Eternal Sunshine of the Spotless Mind: ¡Olvídate de mí! (Forget About Me!)
• Butch Cassidy and the Sundance Kid: Dos hombres y un destino (Two Men and a Destiny)
• Bad Girls: Cuatro mujeres y un destino (Four Women and a Destiny)
• White Heat: Al rojo vivo (Red Hot)
• The Hangover: Resacón en Las Vegas (Big Fat Hangover in Las Vegas). The Latin American title is ¿Qué pasó ayer? (What Happened Yesterday?)
• Spaceballs: La loca historia de las galaxias (The Crazy Story of the Galaxies)
• Weird Science: La mujer explosiva (The Explosive Woman)
• As Good as It Gets: Mejor... imposible (Better... Impossible)
• Liar Liar: Mentiroso compulsivo (Compulsive Liar)
• Shallow Hal: Amor ciego (Blind Love)
• Up the Creek: Los Albóndigas en remojo (The Meatballs Left in Water)
• All About Eve: Eva al desnudo (Eve in the Nude)
• Heartbreak Ridge: El sargento de hierro (The Iron Sergeant)
• Sergeant Rutledge: El sargento negro (The Black Sergeant)
• High Noon: Solo ante el peligro (Alone Against Danger)
• Gunfight at OK Corral: Duelo de titanes (Duel/Clash of the Titans)
• Clash of the Titans: Furia de titanes (Fury of the Titans)
• Lake Placid: Mandíbulas (Jaws)
• Jaws: Tiburón (Shark)
• Eight-Legged Freaks: Arac Attack
• The Reluctant Dragon: El Dragón Chiflado (The Nutty Dragon)
• All Night Long: Noche de pesadilla (Nightmare Night)
• O: Laberinto envenenado (Poisoned Labyrinth)
• Love and Death: La última noche de Boris Grushenko (The Last Night of Boris Grushenko)
• Blue Ice: Seducción peligrosa (Dangerous Seduction)
• A View to a Kill: Panorama para matar (Panorama to Kill)
• The Parent Trap: Tú a Londres y yo a California (You Go to London and I Go to California)
• Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb: ¿Teléfono Rojo? Volamos hacia Moscú (Red Telephone? We're Flying Towards Moscow)
• The Frontiersman: La ley del revólver (The Law of the Revolver)
• The Manchurian Candidate: El mensajero del miedo (The Messenger of Fear)
• An Inconvenient Truth: Una verdad incómoda (An Uncomfortable Truth)
• Legends of the Fall: Leyendas de pasión (Legends of Passion)
• Monkey Business: Me siento rejuvenecer (I Feel that I Rejuvenate)
• I Was a Male War Bride: La novia era él (The Bride Was a He)
• Under Capricorn: Atormentada (Troubled)
• Bringing Up Baby: La fiera de mi niña (My Shrew of a Girl Child/The Shrew of my Girl Child: ambiguous title)
• Cat on a Hot Tin Roof: La gata sobre el tejado de zinc (The Female Cat on the Zinc Roof)
• Rear Window: La ventana indiscreta (The Indiscrete Window)
• H.M. Pulham, Esq.: Cenizas de amor (Ashes of Love)
• The Shawshank Redemption: Cadena perpetua (Lifetime Imprisonment)
• Double Indemnity: Perdición (Perdition)
• She Wore a Yellow Ribbon: La legión invencible (The Invincible Legion)
• Groundhog Day: Atrapado en el tiempo (Trapped in Time)
• Evan Almighty: Sigo como Dios (I'm Still like God)
• Mr. Smith Goes to Washington: Caballero sin espada (Knight Without a Sword)
• The Dirty Dozen: Los doce del patíbulo (The Dozen/Twelve from the Gallows)
• Operation Dumbo Drop: Operación elefante (Operation Elephant)
• Hidalgo: Océanos de fuego (Oceans of Fire)
• The Magnificent Ambersons: El cuarto mandamiento (The Fourth Commandment)
• Make Mine Music: Música, maestro (Music, Maestro!)
• Scarface: El precio del poder (The Price of Power)
• Goodfellas: Uno de los nuestros (One of Us)
• The Seven-Year Itch: La tentación vive arriba (Temptation Lives Upstairs/Up There)
• Spellbound: Recuerda (Remember)
• Something's Gotta Give: Cuando menos te lo esperas (When You Expect It the Least)
• 500 Days of Summer: 500 días juntos (500 Days Together)
• Wee Willie Winkie: La mascota del regimiento (The Pet of the Regiment)
• The Mighty Ducks: Somos los mejores (We're the Best)
• Animal House: Desmadre a la americana (Overload the American Way)
• The Boat that Rocked: Radio Encubierta (Radio Undercover, pun on "Radio en cubierta": Radio on Deck)
• The Frighteners: Agárrame esos fantasmas (Seize Those Ghosts for Me). The Latin American title is Muertos de miedo (Dead with Fear).
• Lorenzo's Oil: El aceite de la vida (The Oil of Life)
• Rabbit-Proof Fence: Generación robada (Stolen Generation)
• The Gingerbread Man: Conflicto de intereses (Conflict of Interest)
• The Theory of Flight: Extraña petición (Strange Petition)
• Planes, Trains, and Automobiles: Mejor solo que mal acompañado (Better Off Alone Than in Bad Company)
• Bend of the River: Horizontes lejanos (Distant Horizons)
• Blacula: Drácula negro (Black Dracula)
• Creature of the Black Lagoon: La mujer y el monstruo (The Woman and the Monster)
• The Day of the Triffids: La semilla del espacio (The Seed from Space)
• The Day the Earth Stood Still: Ultimátum a la Tierra (Ultimatum to the Earth)
• Them!: La humanidad en peligro (Humankind in Peril/Danger)
• The Deadly Mantis: El monstruo alado (The Winged Monster)
• The Parasite Murders: Vinieron de dentro de... (They Came from Inside/Within...)
• One Touch of Venus: Venus era mujer (Venus Was a Woman)
• Touch of Evil: Sed de mal (Thirst for Evil)
• 
  

As an Easter egg, we have expanded the list to include some Anglophone titles of non-Anglophone films:

• On connaît la chanson (We Know the Song): Same Old Song
• Gazon maudit (Bloody/Blasted Doormat): French Twist
• Lola rennt (Lola Runs): Run, Lola, Run
• Gegen die Wand (Against the Wall): Head-On
• Sostiene Pereira (Pereira Declares): According to Pereira
• Tacones lejanos (Distant Stiletto Heels): High Heels