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[[Musical film|Musicals]] in particular proliferated during the early talkie era, partially because between-song, plot-driven narration could often be easily replaced with [[intertitle]]s or, as in the case with MLVs, be reshot using local actors. Numerous internationally renowned artists worked on MLVs, some repeatedly. Many are still widely known to modern audiences, including [[Marlene Dietrich]], [[Greta Garbo]], [[Alfred Hitchcock]], [[Buster Keaton]], [[Fritz Lang]] and [[John Wayne]]. [[Hal Roach]] was a great proponent of MLVs and an early adopter of the practice. Within a two-year period between 1929 and 1931 he oversaw the production of many of them for his top acts, including [[Laurel and Hardy]], [[Charley Chase]], [[Harry Langdon]] and [[Our Gang]].
Although a vast number of MLVs were made, many of the early export versions are [[Lost film|thought lost]] and relatively few are available today. Some notable exceptions are ''[[Anna Christie (1930 film)|Anna Christie]]'' (1930); ''[[The Blue Angel]]'' (1930); ''[[Dracula (1931 English-language film)|Dracula]]'''s
Within a few years the practice had peaked, largely because of the additional production complications and expenses incurred, along with improvements in [[Dubbing (filmmaking)|dubbing]] and [[Subtitles|subtitling]] techniques. Many multiple-language version films were US-European co-productions and the [[Nazi Party|Nazis]]' rise to power in the early 1930s effectively sealed their fate. European co-productions continued on a reduced scale through until the end of the 1950s before dying out almost completely. In [[India]], however, multiple-language versions [[List of multilingual Indian films|are still produced on a semi-regular basis]], particularly in the case of big budget epics.
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