Abstract

During the transition from silent to sound, multiple-language versions aimed to ensure the dissemination of the film beyond the borders of its country of production, through different versions of the same plot in different languages. This articles examines this process by means of the case study of the Italian film "Una Notte con Te" (1932), shot in Berlin in the early 30s, which deserves to be reconsidered from a perspective that reads the film's music as a connection through which the related versions can be mapped out.