The Italian Dubbing of ‘The Devil Wears Prada 2’ Has Stirred Up a Surprising Controversy

The Italian dubbing of ‘The Devil Wears Prada 2’ has ignited a debate among viewers over the performances of the voice actors, with critics citing age-related mismatches and cultural adaptation issues. This controversy underscores ongoing concerns about dubbing quality in a streaming-dominated era.

The sequel, released on April 29, has been a box office success in Italy, continuing the legacy of the original film. The controversy centers on the voice cast, which includes Maria Pia Di Meo returning as the voice of Miranda Priestly, and Gabriele Lavia dubbing Nigel. Critics argue that the advanced age of these actors, particularly Di Meo, now 87, creates a disconnect with the energetic characters they portray. Some viewers find the performances to sound forced or mismatched, especially considering the passage of time since the original recordings.

The debate extends beyond individual performances to broader issues of dubbing effectiveness, especially as audiences increasingly prefer original language viewing via streaming platforms. Trailers for the film have highlighted issues such as speech speed and cultural references that may not resonate with non-American audiences, like the mention of a Starbucks venti drink or the term ‘features editor,’ which may be obscure outside the US. Critics suggest that current dubbing practices may no longer keep pace with the rapid production of content and the expectations of modern viewers.

Why It Matters

This controversy highlights the ongoing challenge of adapting international films for local audiences while maintaining quality. It raises questions about the relevance of traditional dubbing practices in a digital age where viewers often prefer original audio. The debate also reflects cultural differences in media consumption and the importance of high-quality localization for global success.

Background

‘The Devil Wears Prada 2’ has generated significant box office revenue, with $77 million in the US and $157 million internationally, indicating strong commercial interest. In Italy, the film’s success has been accompanied by discussions about dubbing quality, a longstanding issue in the Italian film market where dubbed versions are predominant in cinemas. The original film’s voice cast, including Maria Pia Di Meo as Miranda Priestly, has been iconic, making any change or perceived mismatch more noticeable. The controversy is part of a broader conversation about how localization impacts audience engagement and the cultural authenticity of foreign films.

“The aging voices, especially Di Meo’s, create a strange dissonance that affects the overall experience of the film.”

— Italian film critic Marco Ricci

“Dubbing is an art that must adapt to the times; perhaps it’s time to revisit our methods.”

— Voice actor Gabriele Lavia

What Remains Unclear

It is not yet clear whether the controversy will lead to changes in future dubbing practices or if it will influence audience preferences for original language versions in Italy.

What’s Next

Further discussions among industry professionals and audiences are expected, possibly prompting reviews of dubbing standards. The film’s ongoing success may also influence how studios approach localization in future releases, with some suggesting a shift toward more synchronized, age-appropriate voice casting or increased use of subtitles.

Key Questions

Why has the dubbing of ‘The Devil Wears Prada 2’ caused controversy in Italy?

The controversy stems from the perceived mismatch between the aging voice actors, especially Maria Pia Di Meo, and the energetic characters they voice, leading to a sense of dissonance among viewers.

Does this controversy affect the film’s box office success?

While it has sparked debate, the film continues to perform well at the Italian box office, suggesting that the controversy has not significantly impacted its commercial performance so far.

Is this issue specific to Italy or a broader problem?

While the debate is most prominent in Italy, it reflects a global concern about dubbing quality and localization effectiveness in an era of streaming and international content consumption.

Could this controversy lead to changes in dubbing practices?

It remains uncertain, but industry insiders suggest that the debate might prompt a reevaluation of dubbing standards, especially regarding age-appropriate casting and cultural adaptation.